Maxine Peake Quotes

I want to change things with everything I do, not for the sake of changing things, but for the sake of taking greater and greater risks, or how minimalist I might be able to be, or how I can involve elements or ingredients in music videos that are not musical, for instance.

It was 1975. I had spent the year at the Boston Museum School doing some very bizarre performance works. The last one included going to the North Magnetic Pole and spending all of my money.

Whatever art form you're working in, it's crucial to see it clearly, to feel it clearly, and not to worry about the results, or how someone else will see it.

It's amazing what you can do with an E in A-Level art, a twisted imagination and a chainsaw.

People always say that my work is sensational or shocking but there are truly shocking things you could do, and my sculptures don't go anywhere near that.

With Fincher, you can take chances and try things. And what happens is that any pretension and preparation you've done, all the square, intellectual work, you can't keep that up for 40 takes. It breaks down, and new things start popping up. This, for me, is the most exciting thing about film-making.

I'm a complete deviant. All creative work breaks new ground.

Prince Paul's one of my teachers. He's always been one of my main inspirations as far as interludes go and getting a little quirky at times.

One reason I think I am able to work with such dark material is the fact I was never really discouraged from making this kind of work.

In my work, I have always tried to push the boundaries of what fashion can do.

I have always chosen subjects which are little different, and not subjects that you see. That challenges me and the actors who work in the project.

I don't want to just make the safe, easy commercial films.

I don't see myself as a pop artist. Like, when you hear 'pop,' you're like, 'Oh, bubblegum, jumpy little girly stuff,' and I feel like, 'Uh-uh. That's not me.'

Everyone asks me, 'Why do you choose such subversive or shocking themes?' but when I'm alone in my office, I'm not like, 'OK I'm going to shock.' I want to write about a character who fascinates me, someone who I don't understand.

To discover the mode of life or of art whereby my spirit could express itself in unfettered freedom.

A sculptor is supposed to be a dull dog anyway, so why should he not break out in colour sometimes, and in my case I'd as soon be hanged for a sheep as a lamb.

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.

I did feel a little afraid, as you say, the complete liberty and "elasticity" of it. But I found that I liked some of the things that it availed me of in terms of emotion and tonal stuff. I came to find it appealing.

I'm an experimental artist in a field that doesn't celebrate experimentation. It celebrates self-destruction, which I guess you could say is a creative endeavor.

I can't wait to get into a position to make really bad art and get away with it. At the moment if I did certain things people would look at it, consider it and then say "f off". But after a while you can get away with things.

Judging your early artistic efforts is artist abuse. . . Remember that in order to recover as an artist, you must be willing to be a bad artist. Give yourself permission to be a beginner. By being willing to be a bad artist, you have a chance to be an artist, and perhaps, over time, a very good one

I kind of think that artists throughout history, poets throughout history have been criticized for sharing what's on people's minds and I don't think it's any different now.

A working artist is a playing artist.

As a journalist, I would talk to writers, directors, creative people, and discover that for an awful lot of them, the moment they became successful, that was all they were allowed to do. So you end up talking to the bestselling science-fiction author who wrote a historical-fiction novel that everybody loved, but no one would publish.

When I was living in Mexico, I started reassessing my drawing style, and plunged into a period of doing exercises and research to develop a new way to draw. The result was a style that implies more than it shows, and so, ironically, feels more "true" to the scene I want to draw than a style that is more specific. It seems to me that the reader's imagination is able to fill in the gaps more effectively than I ever could. Plus it's a lot faster and more fun to do.