Roz Chast Quotes

I love designing costumes that I can actually construct, working to create an environment that people want to be in.

I really enjoy squeezing out a big lump of paint directly onto the canvas and leaving it; fresh, immediate and sometimes shocking.

I just like putting outfits together without much thought and seeing what the outcome is.

Color possesses me. I don't have to pursue it. It will possess me always, I know it. That is the meaning of this happy hour: Color and I are one. I am a painter.

I like talking about comic book process, and one of the things is that I have plans going ahead for years, and the plans constantly get thrown away and shifted. There's a difference between planning and what actually happens in life, and comics have a life of their own.

I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.

My process is really quite organic, and starting a painting is one of the best parts for me. I always start in quite a loose and free way. I often put down one ground colour to begin with and then play off that.

I enjoy the collaboration. I always envied people in bands who got to have that interaction. I've done so many albums where I've been in the studio for 14 hours a day for six months just trying to come up with things on my own. It's a nice change helping other people with their music and not being all about what I'm trying to do myself.

The music comes through me, and I let it come the way it comes, and it shapes itself. I just hold space for it. I don't intend to write it for a purpose, but it comes as it comes and am proud of the way it can support change because I believe strongly in what I sing about.

I love doing stand-up. It's so self-contained - you go there, you do it, you go home - but with telly, there are too many people involved with it with opinions. You have a product, and everyone wants to change it.

I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.

My particular aesthetic of light and color and design wouldn't change as a result of working with computer graphics rather than with slit scan or miniatures.

When you make new musicals, you have the great freedom and the great burden that it can be changed.

Following my muse has worked out pretty well so far. I can't see any reason to change the formula now.

The painter... does not fit the paints to the world. He most certainly does not fit the world to himself. He fits himself to the paint. The self is the servant who bears the paintbox and its inherited contents.

I think if anything, what 'The Astonishing' proved is that we're always going to experiment.

All I try to do is put as many colors as I can on the canvas every night.

One never knows what one is going to do. One starts a painting and then it becomes something quite different.

Obviously, the music and lyrics are in me, but if I let myself get in my own way, I do. I empty out and let it come, and then the music spirits take over.

When an artist explains what he is doing, he usually has to do one of two things: either scrap what he has explained, or make his work fit in with the explanation.

I just make what I'm making, and then one day I won't want to make it anymore. I think that's a luxury we should be able to have as people, especially as artists.

I look at a nude. There are myriads of tiny tints. I must find the ones that will make the flesh on my canvas live and quiver.

I foresee it and yet I hardly ever carry it out as I foresee it. It transforms itself by the actual paint. I don't in fact know very often what the paint will do, and it does many things which are very much better than I could make it do.

The condition of photographing is maybe the condition of being on the brink of conversion to anything.

I love playing the melodic stuff. I love adding textures and colors.