Sheryl Crow Quotes

With most of the songs and music that I've composed, irrespective of the myriad videos made, I was always careful not to overly define the experience, leaving room for people to internalize things for themselves, making their experience more integral.

At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him.

The great thing about a record is it frees your imagination; it gives your eyes a rest and lets your mind wander. There's the special thing that each record can mean a different thing to every person listening to it.

I think myself that, rather like books, music is meant to enter into the brain, well via your ears rather than your eyes but, it's - I think a lot more should be left to the imagination.

The most delightful aspect about the language of cinema is that it speaks to each of us in different ways - it is a purely subjective experience.

I think writers like to see how people bring their words to life, and it's always surprising. Always, no matter what, whether it's good or bad, it's always surprising because a whole human being is coming to that piece of writing.

People take songs so literally.

A great poem leaves so much room for everybody to have such a different reaction to it.

I always hate explaining away songs, because for me they mean something, and for other people, they'll mean something absolutely different.

The images from the book you make in your head are always going to be the best images.

People relate to songs so differently. No matter what it's about in reality, people create their own meaning behind it and connect with it on their own terms.

At this very early stage in my career, I want people to experience the music first and let it drive their imagination and their experiences.

You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.

I try and take it for what it is, and I'm very at peace with the fact that when I'm done with the songs, they don't belong to me anymore. They belong to the listeners.

The best thing you can do for a song is to hear it on the radio and to imagine what it could mean to you and then kinda forget the words. Just imagine how you felt when you heard it, if it was one of your songs. If it became one of your songs. If it meant whatever it meant for you and as soon as you see the visual, you get a rapid eye movement relationship with the song instead of an imaginative one. I think that can be dangerous because I don't think I'd want to be listening to a song on the radio and thinking about the video. Whatever that one interpretation was

Somebody's going to hear a song that will key in a nerve or something in their experience that represents their own vision. And the next person is going to see it completely different. So even what it means to me is probably irrelevant. It's totally irrelevant. What matters is what it means to each person listening to it.

People get out of music what they want to get out of it, and all I try to do is do the same thing.

The downside of videos is that it will put my vision in front of other people, so they might not get the chance to create their own.

I think I was perceived in one fashion. A video is based on a song. I think you can get glimpses of people's presence within that. There's some people you enjoy watching more than others.

Music means different things to different people and sometimes even different things to the same person at different moments of his life.

But the greatest thing about music is putting it out there for people to figure out. You want the listener to find the song on their own. If you give too much away, it takes away from the imagination.

Singers, like Frank Sinatra and myself, we interpret the songs that we like. Not unlike a Shakespearean actor that goes back to the greatest words ever written, we go back to the greatest songs and bring about my interpretation of them.

If I can't get a mental image from the song, I won't sing it.

It doesn't matter if a critic pans or praises my movies, I am only concerned about that one audience member and what their experience is.

Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed. Their highest merit is suggestiveness.