Edgar Degas Quotes

When you ask me why I do one film a year, it is not my fault. I've chosen what I liked from whatever work came my way.

Yeah. It's all in the music first. The music is like women to me. It's like how you pick your music: everybody got their own different way how they pick their women and their music, and I guess that's what the album becomes.

You do a movie if it's good and if you want to do it. It doesn't matter if it's small or big or expensive or cheap. If you want to say the words, you're gonna say them. You can't strategize.

I like to let the actors work the way they want to.

I think drawing is really the basis of all art, even sculpture, film. The greatest filmmakers have always been able to at least roughly sketch out their ideas in storyboards. And black and white in particular is a good place to start.

I think we're all born with this huge canvas in front of us and the paintbrushes and the paint, and we choose what to put on this canvas.

What I like or dislike in music is my internal affair. I never want an audience out there to be influenced because John said. I don't want to have to endure that kind of nonsense. I work for the art of the individual.

I've been writing my entire life, and I'll always write. But at times I have told myself that I don't necessarily have to publish anything else.

When the work takes over, then the artist is enabled to get out of the way, not to interfere. When the work takes over, then the artist listens.

When you're a rapper, just a rapper, you have to kind of settle for whatever comes your way - if a beat is hot, you wanna rap on it, period.

Purple's my favorite color.

There's nobody between you and the print. Nobody. It's you and the subject and the final print. And if you get it published that way, you've said it.

An artist chooses his subjects: that is the way he praises.

The aim of the painting is that the eye should find out what it likes.

The artist has a duty to be calm. He has no right to show his emotion, his involvement, to go pouring it all out at the audience. Any excitement over a subject must be sublimated into an Olympian calm of form. That is the only way in which an artist can tell of the things that excite him.

No matter what song I recorded or sang, I did it my way.

I never really want to repeat myself, obviously, but even if I do, it's because it is a choice.

Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.

I'm more relaxed about how the editing process will create a performance and that, in a way, gives me a sense of freedom.

I didn't want to become this stiffened - and that was just a personal choice, at that time. And, the idea was also to go to film first, get enough notoriety in film that I could interpret some of the opera stuff the way I would want to interpret it.

Film has a tendency to be limiting in some way and it shouldn't be. It's a form that can be explored and changed.

Learn the rules and then break them in such a way as to exercise good taste.

Everybody is completely different. I think there is no formula for filmmaking. Everybody finds their own way of doing things.

I cannot copy nature in a servile way; I am forced to interpret nature and submit it to the spirit of the picture. From the relationship I have found in all the tones there must result a living harmony of colors, a harmony analogous to that of a musical composition.

Black-and-white gives you that sort of parallel world. Also, it's very close to the condition of dreaming, to the unconscious.