Andy Grammer Quotes

You have to draw on your unconscious when you make a film - you can't worry about whether it's costing a lot of money.

I think there's always this idea in your head, but you have to allow the film to take its own course.

It's important that the actor doesn't feel like they're working in a vacuum. If the actor is told, 'Oh, it's a secret; just play it this way or that way,' it's a bit patronising. I think you have to bring the actor into your thinking and explain things.

John Doyle just knows how to feed actors, and what comes out of us, good, bad, right, wrong, doesn't matter. There's no fear or censure. He opens up the creative goo and all of the actor vessel stuff. He knows how to do it. It's just incredible.

I believe in creative failing - to contine to write poems that fail and fail and fail until a day comes when you've got a thousand poems behind you and you're relaxed and you finally write a good poem.

I don't put a lot of pressure on myself when I'm writing. It feels like if I come up with something good, or I come up with something bad, I'm not too worried.

The concern about what's too violent or what's too scary is something that I just completely don't let enter into my creative process. I feel like, if I spend a lot of time trying to worry about whether it will appeal to everyone and who will like it and who won't, and I try to please everyone, I'll just spread myself too thin and lose my mind.

I've changed the way I look at things. When I put out a record or single I don't allow myself to set up expectations like, "This song must be a number one hit. Its got to sell X amount of records." I have fallen into that trap before.

In drawing, I don't erase. I believe the original gesture has to be the best.

I really believe that fiction functions best when stories are allowed to develop in an organic way, so I didn't set out to deliver a specific message.

all creative writers need a certain amount of time when they're creating something where nobody should criticize them at all - at all. Even if the criticism is valid or good, they should just shut up, and let that person create. Because at a certain point you have to make it your own - not the world's, but your own.

Because I'm such a studio guy, I really trust my process. I really believe in myself in the studio.

Decision by democratic majority vote is a fine form of government, but it's a stinking way to create.

I try to get my subconscious to puke out as much stuff as I can because I'm really not judging myself while making music. If I crave a frequency in the mid, I'll just drag in a sound and try to mold it into what feels right. It happens very quickly. And if I've been making a piece of music for five hours and it sucks, I'll just throw it away. There has to be an entry point to learn about myself, or an idea I've never tried, because then I can try on a new skin and see the world through a different perspective. If I have that spark, then I'll save the file.

All my work begins with drawings. I don’t labor over my drawings. I want to get freedom in the line. I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.

I just believe in the movie. I don't care what the book was like. I don't care what the previous film was like or other films were like. I care only about the script I've got.

I can't work without a model. I won't say I turn my back on nature ruthlessly in order to turn a study into a picture, arranging the colors, enlarging and simplifying; but in the matter of form I am too afraid of departing from the possible and the true.

On the times when I used to make movies that were with a lower budget, nobody was expecting it to be a hit, and nobody was paying attention to what I was doing, and it was a free type of creative process. So, one way to reset myself is to go back to that kind of moviemaking.

There are those who make music and movies in a linear way: They plan them, they have a script. Of course, you have to have a script sometimes, but that alone isn't enough.

Creative differences are legendary in this movie business, so we're really not exploring the creative-difference aspect as opposed to the money aspect, or the fact that something can come up in a movie and literally put the whole movie on the line, and this is where producers have to earn their keep.

When we are writing, or painting, or composing, we are, during the time of creativity, freed from normal restrictions, and are opened to a wider world, where colors are brighter, sounds clearer, and people more wondrously complex than we normally realize.

I find it hard to believe that the machine would go into the creative artist's hand even were that magic hand in true place. It has been too far exploited by industrialism and science at expense to art and true religion.

Painting is something that takes place among the colors, and one has to leave them alone completely, so that they can settle the matter among themselves. Their intercourse: this is the whole of painting. Whoever meddles, arranges, injects his human deliberation, his wit, his advocacy, his intellectual agility in any way, is already disturbing and clouding their activity.

I couldn't say there is a formula to songwriting. Each time is a unique experience.

In the silence of their studios, busied for days at a time with works which leave the mind relatively free, painters become like women; their thoughts can revolve around the minor facts of life and penetrate their hidden meaning.