Vic Mensa Quotes

Shakespeare does a great job of taking 5,000-year-old stories and turning them into modern pieces that are true to the original essence but are completely remade.

The fact is that all writers create their precursors. Their work modifies our conception of the past, just as it is bound to modify the future.

All art is contemporary art because it had to be made when it was now.

Sometimes you write a song in a certain era and it's got a certain kind of significance.

I know I draw without taking my pen off the page. I just keep going, and that my drawings I think of them as scribbles. I don't think they mean anything to anybody except to me, and then at the end of the day, the end of the project, they wheel out these little drawings and they're damn close to what the finished building is and it's the drawing.

When I did "Seven Easy Pieces," I actually re-performed the performances of other artists. It was such difficult work because I had to really go through the documentation, look through the sources, to ask the witnesses who saw it.

When you create stuff, you're always going to be progressing and where you're at a year down the line, as the creator, it's always going to feel immature. You're going to notice the flaws and the things that you've learned in that year aren't going to be there. So, I think it's important to see stuff as a capture of time - that's what I was doing at that time - and not be ashamed of it. That's how I try to approach music.

The creative act is not pure. History evidences it. Ideology demands it. Society exacts it.

I don't think that my work is actually effectively dealing with history. I think of my work as subsumed by history or consumed by history.

Is there a necessary succession in style, or are these things pure chance?

I believe that one of the most sound ideas in dramatic writing is that in order to create the universal, you must pay very great attention to the specific. Universality, I think, emerges from truthful identity of what is.

The ego must be developed, not for its own sake, but because it is needed by society. If you are only interested in self-realization then you cannot make a good painting. To do this you have to have thought about forming, and about how ideas of forming stem from history.

Art or talent, for an artist, is merely a means of applying his personal faculties to the ideas and the things of the period in which he lives.

In every domain of art, a work that corresponds to the need of its day carries a message of social and cultural value. It is the artist who crystallizes his age ... who fixes his time in history.

Focus on the play like it has a history and a life of its own.

When fashion turns over it brings in little tiny creaks and cracks. This is the fascination and that is where you have to watch every step.

What the study of history and artistic creation have in common is a mode of forming images.

Art lies in conceiving and designing, not in the actual execution' - this was left for lesser minds.

The writer has little control over personal temperament, none over historical moment, and is only partly in charge of his or her own aesthetic.

I think honestly, believe it or not, that Dude, Where's My Car? in a way represents its time better than almost any film made around that.

These pictures possibly give rise to questions of political content or historical truth. Neither interests me in this instance. And although even my motivation for painting them is probably of no significance, I am trying to put a name to it here, as an articulation, parallel to the pictures, as it were, of my disquiet and of my opinion.

But having a really good understanding of history, literature, psychology, sciences - is very, very important to actually being able to make movies.

The thing is, if you're a designer, then you want to constantly push yourself and your designs. When we make a new collection, we're changing shapes, we're changing patterns. We get a dress on a model, and it's our first time seeing what the dress really looks like on a woman's body.

I spent a long time learning how to construct clothes, which is important to do before you can deconstruct them.

The architect is not only the director, but he is the composer. And, as a composer, the architect brings a sense of creativity to each building.