Frank Gehry Quotes

The majority of people know me as a dancer, but they don't also know that I'm a director, a songwriter and a producer.

Making 'Coraline' was one of the great filmmaking experiences of my life.

Part of the process of acting in a film that you're also directing is really trusting the people around you to capture your vision, which hopefully you have communicated well to them.

Stage is the most exciting. Film is lovely, because it's like a family.

Every single art form is involved in film, in a way.

I design all my sets. With my tour and my album artwork, I co-design that with people who are better at drawing than me. But I've got a good imagination. I went to art school so I understand how to communicate my ideas.

I have my writing and acting and producing and directing, and my younger brother has his music and his acting.

I want to use things I learn about writing in my acting, and vice versa.

I provide the bricks and mortar with the words and situations - the director and the actors and the designers build the house.

Working on 'King Of Texas' was a life experience for me.

Willem de Kooning as an artist is insane, Sonia Rykiel is amazing for her colour sensibility, and Ettore Sottsass was an architect and product designer who sometimes created clothes to go with his other designs.

'Chocolat' was a joy to make, as we were filming in beautiful locations in France and England. Lasse Hallstrom is such an amazing director - overall it was a wonderful experience.

I love reading different scripts and helping create different looks, different environments. Sometimes you go to meet a director over a particular script, and they'll say, 'I want you to do this because I want it to look like Shawshank,' and I'm like, 'Well, I'm not that interested in doing that again.'

I would love to direct one day. I value the relationship that I have with a director so much, and I would be really excited to be on the other end of that relationship.

I loved working with Stephen Frears. He's a really fantastic director. He knows what he wants and how to get it.

Today the arts exist in isolation, from which they can be rescued only through the conscious, cooperative effort of all craftsmen. Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts.

Filmmaking is so heavy: there are so many people and trucks and teamsters and costume people and hair people and makeup people. I try to make it light and as simple as possible. It's great for actors. It puts the story up front. It's not about shots and dollies and lighting and sets.

'Deconstruction' is a really heavy record, a real symphony in a lot of ways, but with heavy musicians from the metal world - friends of mine.

I've managed to persuade Yoko Ono to put some of her work in my Penguin book!

I got into architecture via fine arts, and I was a sculptor myself, and I have always involved artists in my projects. When I say 'involved,' I mean I always bring artists in at the beginning projects before they're built and say, 'Will you do a room? Will you do a sculpture floating in mid-air? Will you make a chimney? Will you do something?'

I don't know what's in store for me, but I know that I want to create work, and I want to create an environment where I can bring in my favorite people and collaborate with them, and do something that is so much weirder and so different from what you'd see in commercial film.

One thing helps the other. My stand-up helps my writing; my writing helps my stand-up; my stand-up helps my acting. They're all interlocked.

I did a lot of prep for 'Rogue One' while I was working on 'Lion,' so I could take the skills I learned in India and apply them to 'Rogue' and then take the skills I learned on 'Rogue' and apply it to 'Lion.'

Realizing that my surroundings were going to be built around me, the way that I performed, we helped the directors through the performance, to create the world that we were going to be seen in. I was very fascinated with that.

Freedom to a dancer means discipline. That is what technique is for -- liberation.