Kim Weston Quotes

Songwriting is like going to church. I'm connecting to something, and it's rewarding in really important ways. I don't need to share it with anyone to feel good about it.

To me, directing movies is just that. It's a need to question myself and set the things that disturb me on the table.

My primary thing is to make a painting, not necessarily to make a painting to sell for gazillions of dollars, but just to make a painting.

I look at the artistic process as like experiencing the world, channeling it through your personality and sending it back out there. That's the process.

Over the years I always did some water colors, and I did a series of pictures of drawings. I always did it during a period of time that was slow in the photo business, but in essence it was always frustrating because I'd get started, and then it would be time to get back to work and I wouldn't get anywhere with the painting.

I am a keen observer of my own films; I also try to discover myself through the movies I make.

I don't really have a historical overview of my work at all. I'm not an art historian. I don't see that there's this period and that period.

A drawing is an autobiographical record of one's discovery of an event - either seen, remembered or imagined. A 'finished' work is an attempt to construct an event in itself.

Over the years, my 'Door' paintings have become somewhat mythologized.

I'm not the kind of artist who has an idea and then carries it out; it's more like I find what the idea was through doing the paintings.

Once I make a picture, I never look at it again.

Because I was traveling a lot during the '70s, the only thing I could do on the road was take photographs, so there wasn't much painting during those years.

The journey matters as much as the destination. By engaging in the moment on set, I've stopped rushing and now find pleasure in the collaborative process - the characters, the costumes - rather than worrying about the finished product.

I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.

Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.

Just as the bird sings or the butterfly soars, because it is his natural characteristic, so the artist works.

People ask, 'Are your things autobiographical?,' and I think, no, they're not autobiographical directly, but of course my life has informed my work.

Some stuff I don't even put out. I'll just be home, happy, creating something for myself, and then ball it up and throw it in the trash. It's less about trying to prove something or get on somebody's list or make a fan happy or make a hater mad or convert a non-believer. That's not the case for me anymore.

Sometimes you like the personal adventure implicit in the making of a film, and sometimes you like your part in a film, and sometimes you like the final result.

Not content, but the road the artist takes, is the interesting part.

We all take from our artistic endeavors what we as individuals need, to make the process unique and fulfilling to ourselves.

Why an artist loves what they do is often so hard to describe.

Some people get turned on by my work, and it sells, but what drives me is the process of making it.

'The Missing Picture' came together slowly, after much provocation and by refusing different forms, until I finally found the right form.

I don't make art to make money, I make art so I can make art.