Kenny Beats Quotes

Filmmakers have to really find a unique take on something if they're going to explore an already-explored genre of movies.

David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.

If you look at the types of directors out there, I'm not as weird as most of them.

I'm not like other writers. I'm not hung up on using my own songs. In fact, my sister Bunny always tells me I sing other people's songs better than my own. She says I loosen up and give the songs a different feel.

I'm not loyal to one genre. I want to mix it up.

Originality depends only on the character of the drawing and the vision peculiar to each artist.

I can have a song with Ariana Grande that is going to be the song for all the kids and the teen girls, and then another song that could be for a different group of people who all love the song. I'm with whoever. Whatever type of people want to love the music and whatever they love about the music is fine with me.

I'm a little bit of everything. That's what makes Nicky Jam so different from everybody else.

I want my films to be different, to use different techniques, not just make a calling card film.

None of my films are comparable to anybody else's. So many years after I made them, nobody's been able to copy them.

That the best piece of art a person is capable of making is the one that only they could create.

I like working with directors much, because I want to be able to give myself completely to their vision. Otherwise I would only do what I could do, again and again. I want to be taken by someone in a different direction.

I think that if you just kind of try to throw together a sketch show, but you don't have any real vision for what you want to do with the sketch, I don't think your chances are very good. You know, "Let's just have a sketch show!" You have to do something different with it; you have to reinvent that form every so often.

As a guiding principle I believe that every poem must be its own sole freshly created universe, and therefore have no belief n 'tradition' or a common myth-kitty or casual allusions in poems to other poems or poets, which last I find unpleasantly like the talk of literary understrappers letting you see they know the right people.

I thought weirdness was a good thing. I don't mean that defensively, either. I thought it was something to be cultivated.

I wanted to go in a different direction, artistically. But having somebody like Terry[Crews] in it was your ace in the hole. That makes it very strong, so I definitely had to jump in with both feet.

My rule was not to paint things as they were. I wasn't copying; I was remaking them as my own.

The great artist takes what he needs.

I'm not trying to do something different, I'm trying to do the same thing but in a different way

The problem with the Jude Law "Hamlet" was simply that it wasn't unpredictable, that it was a very down-the-center modern production. You wouldn't go to the theater expecting to see an old-fashioned "Hamlet" where everybody wears an old fashioned costume. You don't get points for putting on a "Hamlet" where everybody dresses in black. I've seen that one several times. But again, it's not that it has to be new, it simply that it has to be different, fresh, that it doesn't bore, that it doesn't make me - I don't feel as I'm watching it that I know where it's going to go.

The artists must see all things as if he were seeing them for the first time. All his life he must see as he did when he was a child.

A great man will find a great subject, or which is the same thing, make any subject great.

Genius is only a superior power of seeing.

I don't think that anybody really makes films quite like mine. That's maybe true of any filmmaker.

The source of genius is imagination alone, the refinement of the senses that sees what others do not see, or sees them differently.