Patti LuPone Quotes

I’m an actor who’s accustomed to bringing a lot of stuff to the table, and you have to be ready because some of them will be accepted and some of them will be rejected. Then you need a generous, free, fearless, loving director like Tarantino to allow you to take those risks.

I'm finding that writing poetry is strengthening my songwriting, because you're learning to make a piece of writing work on a page with nothing else. I was also finding within poetry I felt a lot more free to write about very different matters, to write about social issues or things that are going on around me.

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.

As actors we're always trying to use our creative imagination.

I try to cast really good actors and give them a chance to do their very best work, give them as much time and space as they need.

The actor shouldn't edit themselves or be anxious. And the actors that I admire are always the ones who are inventive and their imaginative life in free-willing. It's a director's job to go, "No here, don't do that, go there."

I'm not the writer who says, "You have to say it exactly as I wrote it," because you don't get good work. You want somebody who's going to bring something interesting to it and really create a character with you. You see that with certain actors.

Stop this agony of wishing Play it out Don't think, don't hesitate Curving back within yourself Just create... Just create

If there's anything I know about directing, it's how to make actors comfortable. It's where I started and it's what I know, and it's what I love. I like when the actors are really partners and I want them to be excited and I want them to surprise me. I don't want them to be puzzle pieces.

If a writer understands his work as something that originates with him but then, with any luck, gets away from him, then what he needs is someone who can grasp the potential of the piece and lead him to that higher ground.

As an actor you don't control the end result. Because you're a director, you get to control the end result. I think for us, we really have to show up and participate and give. And then let go.

Jazz today, as always in the past, is a matter of thoughtful creation, not mere unaided instinct.

Sometimes what you lose in the time it takes to let an actor do something that you don't like as a director, you gain in not shutting them down creatively by telling them their idea sucks.

I always feel when you work with an artist and whenever I work with a really good photographer, I try to give him or her their own artistic freedom because that's the way you get the best work or at least the most interesting work.

One of the things that's good for me is that I can go from one art form to another. Because I think if I had to write another novel now I would really not be good in my head anymore. It's too much. The frustration is so intense of knowing that this structure is right around the corner. Writing is a particular kind of frustration.

You hope that the ideas will come together. You just don't know. That's part of what I suppose is part of being brave and putting creative work out there.

My experience creatively is different than my experience in life, for, as my father would say, the simple reason that you can't get hurt when everything goes wrong creatively.

If I was an artist, and I was in the studio, then whatever I was doing in the studio must be art.

On set, the playground for the character, how much it takes varies. Is it like ballet, is it like jazz? The content always lends itself to the form, and it's really not mathematics.

The best thing you can do with actors is collaborate with them. My job is to inspire them to give their best. And they're only inspired if they feel they are part of the creative process, otherwise they'll shut down. So my goal is always to ask people what they would like to do before I even say my opinion. I usually don't know anything until I see it. I'm a fetish filmmaker - I make films based on what I want to see.

Usually when I make music, in my head I'm like 'this isn't Grimes, this is just some other project that you can release later, so there's no pressure and it doesn't matter and no-one's ever gonna hear it'.

One of the things you can do as an actor, is compensate for the things you can't do in life.

I just try and do something good. But as a writer, you're slightly out of control.

To be different is a negative motive, and no creative thought or created thing grows out of a negative impulse. A negative impulse is always frustrating. And to be different means ‘not like this’ and ‘not like that.’ And the ‘not like’—that’s why postmodernism, with the prefix of ‘post,’ couldn’t work. No negative impulse can work, can produce any happy creation. Only a positive one.

You have to figure out as a band how a band becomes a business, and then you have to keep that business mentality separate from the creative one, which is good for the songs. It's always a work in progress.