Rick Ross Quotes

I make up stories in my head all the time, but I've never written them down. But I write a lot of story songs. Any song I'm singing, I sort of see it like a movie in my head. That's why a lot of times I close my eyes when I'm singing.

The way I create music is maybe like a painting, to compose in a more visual way. Basically it's the music that I want to hear- that's my inspiration and bottom line. I just try to get ideas from books, movies, paintings.

I think when I'm drawing, I'm seeing what's happening on the page almost as if it were unfolding like a movie in my head.

I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.

I'm always seeing stuff and imagining scenes in my head when I'm making music.

Indeed, an engineer designing a structure is not unlike an artist painting one. Both start with nothing but talent, experience, and inspiration. The fresh piece of paper on the drawing board is as blank as the newly stretched piece of canvas.

When I started working on ambient music, my idea was to make music that was more like painting.

To me, writing and composing are much more like painting, about colors and brushes; I don't use a computer when I write, and I don't use a piano. I'm at a desk writing, and it's very broad strokes and notes as colors on a palette.

Sometimes I can see the whole painting from the outset in my mind's eye. But more often than not, that idea doesn't last the duration of the painting. Sometimes it comes out easy, just as I had envisaged. But that is reasonably rare.

I tell my workshop students, 'I want you to think of yourselves as artists. Then, when you're writing, you're painting, you're crafting, you're making a design, you're sculpting, you're creating choreography, sound, a sound script.'

'The Indian Runner' was easy. It had been incubating in me for eight years, and by the time I sat down to write the thing, I had all the pictures in my head.

With directing, you've got to find something and drag it up from its inception, and I'm at the early stages of doing that again. There's something all-consuming and addictive about that.

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

When you're drawing something, you kind of run a movie in your head. You might close your eyes or stare into the distance and kind of see a movie unfolding and, you know, grab a certain moment or think, 'Oh, yeah, that's when we need just the point that he appears around the corner but just as she's getting into the car,' you know?

All of a sudden, those few pages of script that he had shown me with the weird images I could visualize all of that in my brain, and I knew that there was this mad little genius at work here and I really wanted to do the film.

A man paints with his brains and not with his hands.

Once I'm given an idea for a story I have a million ideas on how it should be illustrated, but I don't have a big shoebox full of unfinished ideas.

What I like most about directing is creating a world more so than anything. To me, the music is the wrapping paper on that world.

I've dreamed landscapes for years, and my dreams play an enormous role in my work. In fact, when I first started doing landscapes I felt insecure about painting in this style, and the dreams were like positive omens for me, and I've done a few paintings that were exact replicas of images that came to me in dreams.

People have asked me a lot, 'What comes first? The pictures or the story? The story or the picture?' It's hard to describe because often they seem to come at the same time. I'm seeing images while I'm thinking of the story.

Everything I've written I see in a very precise way and I hear in my inner ear.

I mean, I don't know anything else that I would try to do, but it's a very frustrating thing to do, because you are trying to take what's a fantasy in your head and make it live through the minds of 200 people.

I try not to picture a reader when I'm writing. It's like trying to make a great table but not picturing anybody sitting at it.

It's funny, because what happens to me when I read a script, when something grabs hold of me, I start getting these flashes of people or places or things or images.

I sometimes think that what I do as a writer is make a kind of colouring book, where all the lines are there, and then you put in the colour.