Tim Walker Quotes

My mother is an artist, and I have a strong visual sense. I almost always choose the cover art for my books. I've learned that the more I collaborate, like by having someone do a soundtrack to one of my books, the more I see my own work differently.

For so many years, I've been an actor acting in other people's movies, and in 'Unstoppable,' I'm producing it, and I have an opportunity to create some of that excitement with style and form and different color templates and things like that. So, as an artist, it's really exciting.

I didn't want to just work within Hollywood when I started a production company. I wanted to be able to collaborate with great artists from all over the world.

I went to art school, and I studied drawing and video art, and I've always approached music so visually as a result that I found it really difficult in the past to kind of hand off music to another director, 'cause it just ends up being this kind of mid-zone where it's nobody's vision, really.

The Peas is the mothership you always go to. But when you able to bring something new to the table, it makes you stand out as an artist. I am not chasing the same things as Fergie or Will.i.am.

When I go in the studio with Post, I have a really good idea of what he's going to gravitate to, what we can work with.

A producer has to want you. And if the producer trusts you and asks for your vision, it frees you up so much, not having to explain or fight for every decision. You're allowed to create.

I'm a feminist, so it's just a really nice creative energy to work with a lot of women.

As a director, people are trusting you with their lives, with their stories.

There's no way I see myself as a director. Direction is far too creative.

I don't get why radio shows allow artists to do shows without creative control, without any art direction at all. Instead of that, I get their press guys, their camera guys to be my backdrop of my show.

I don't get to make many features. It's not like that's something I can just snap my fingers and make happen.

There are some millennial artists that I totally get and understand, and I know what they're talking about. People who I've worked with and who I'd like to work with. But there's a whole element of artists that I can't explain what they're talking about.

My music is not like everybody gonna love it, it's really what I make of it.

As a screenwriter, you always have frustrations. It's just the nature of the job, and you have to live with it. Your vision is not going to be the same as the director's vision. It doesn't mean one is better or worse; it means they're different.

I'm not interested in being the producer of somebody else's song.

I love the flexibility of saying, "Today we're making 50-foot paintings, and we're going to have to join hands and figure out how that's going to work." But in the end, it's a possibility.

No film ever ends up exactly as you would like it to, but with minor exceptions, THX came out pretty much as I had visualized it, thanks to some excellent assistance -- and a whole lot of luck.

I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.

I love photography and I love the art of photography. So when I'm working with high-level art photographers, I give them artistic freedom because I want that for myself when it's my turn to do my work and I never try and control it or say I'll only do this or I want it like that.

As an actor, you never want to feel like a tool. You never want to feel like, "Hey, just come here, say this, stop here, look this way," and that's it. You want to have a little input.

I certainly like the actor to have as much lee-way as possible. In the same way that director Bong was generous enough to let me create, you have to do that for actors, as well, and let them use the tools they have, and part of that is their own brains and their own words.

Your director is your everything and you devote yourself to them and you want to help create their vision.

You have to be able to give the people what you want in your way. And that's how you, to me, become a person that they love and not just a fly-by night actor.

I'm pretty hard to impress, and I'm pretty exacting, in terms of what I want from my props department and art department. We spend many, many hours going over visual research and finding the right artists to create the material.