Issey Miyake Quotes

The gratification comes, for me, in the doing of it. And once I've done it, I can't do anything about it if it's good or if it's bad.

When I started creating my work for publication, I just assumed that the focus would be on the work itself and that there wouldn't be a lot of interest in who was creating the work.

I don't need a lot of attention. I'd much rather have the work be famous than the face be famous.

That's what I love more than anything, just creating.

You don't have to make something in order to retain your identity as an artist or a writer or a creative person. A lot of people think they have to be producing in order to maintain that identity.

If you're setting up lights and tripods, and you've got three assistants running around, people will want to get you out as fast as they can. But if you go the opposite way, if you make the camera the least important thing in the room, then it's different.

You are carving out a story. You and your colleagues are trying to make something that is bigger than yourself. Although it can be a scary experience because you're putting your work out on the line, it's also incredibly rewarding because a lot of it comes from you.

I didn't have any aspirations to be famous at all.

I'm having fun creating what I'm creating.

I just make music that I love. I'm kind of selfish when I make music. I'm like, 'Do I like this?'

You just get satisfaction from achieving something that you just don't get in any other way than from being creative.

For the second series of 'Luxury Comedy', I tried to drop the 'Noel Fielding' from it. I thought that would make it less like a solo project and more like a show. Also, it would probably have been easier to take the reaction to the first series if it had been a project rather than my name and face!

I sort of went 'Oh, great. I'm getting these great roles and I love doing them, but I'm going to be Anthony Perkins for the rest of my life.'

I'm just going to keep trying to write music for me because that's what got me here.

All I am looking for is a fine combination of critical and commercial acclaim. Whether conventional or unconventional - does not matter.

'The Disaster Artist' book is the peak of my career in many ways, but there's something so rewarding about creating something from scratch.

Just being known for a skill you've worked on your entire life is an amazing feeling.

I think one of the things that is essential for happiness in life, or at least for non-sadness, is producing something. I guess that's why I spend so much time and agony writing books. But working on carpentry is sort of like all the pleasure with none of the agony.

I think I took eight or nine months to make 'Immunity.' I just focused on mainly that, and it felt amazing.

When I did 'Immunity,' even though I did a film score at the beginning and also at the end, I was left uninterrupted during the middle bit. I got a good year of just writing and focusing. That, to me, is when I make the best stuff.

I just think I want my work to represent me fully.

I want to get out as much art as I can while I'm here, and I seem to get better the more that I do it.

Our business isn't to be famous: that's not what we do; that's not what we strive for.

My big dream has always been to write and create my own things.

I think that there's no doubt that to work in film is a bit more of a creative journey. It's not that I don't put the same time or heart into something that's on television.