David Twohy Quotes

That is a big danger, losing your inspiration. When I work in film and television I try to do each take a little differently. I never want to do the same thing twice, because then you're not being spontaneous, you're just recreating something.

We have no general conceptual thrust for the band, other than trying to make music that keeps our interest. When things are novel, they are probably things we have discovered by accident or investigation rather than by design.

I think making a movie or a record, the best things happen by accident - and those end up being the magic. Every time I've followed my gut it's been better than when I've tried to do what I was supposed to do.

You just keep playing. If someone special comes along and organizes it in a new way, then you'll have another approach and everybody will jump on it to try to learn.

If there's room to make a record every year, and it sounds nothing like the old one, I might do that. It's easy to get in and have fun. To me, if it feels right, that's all that needs to be done.

Usually I like to improvise. Sometimes, depending on the nature of the piece, I like to improvise because I think it brings certain freshness and a reality to it, as long as it doesn't go too far out of the box.

If I find something I like, I'll chase it and see what comes out the other side. Once a song gets momentum and gets away from you, that's a good sign.

We always have a take that's 'one for fun', so once you've got what you need, you can do what you like. Something does occasionally pop out of that tree. I'm always open to ideas.

I got a chance to work with Miles Davis, and that changed everything for me, 'cause Miles really encouraged all his musicians to reach beyond what they know, go into unknown territory and explore. It's made a difference to me and the decisions that I've made over the years about how to approach a project in this music.

For me, the movie's always evolving as I'm doing it. I throw things in as we shoot, and I take things out as we go. I want to create a whole life and then select the pieces that best sort of describe it later, you know? So there's a lot of wastage when I make a film.

The main thing in making art often is letting go of your expectation and your idea.

I've never been one of those guys who storyboards every frame, because that would take away some of the mystery and some of the fun.

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.

Shooting should not be about delivering something I've prepared; it should be a live process of finding things out. When things happen that you haven't planned, that's when the film comes alive.

There's not a formula that I'm following; it's just how I feel at the time. For instance, I did a very experimental film called 'Hardcore Henry,' and that was simply because I thought the filmmaker was very interesting and a risk taker. A film like that had never been made before, so I chose to do that at the time.

We storyboard a lot, but I love when we are just going in there and just, almost on the fly, making stuff and discovering moments. It's just fantastic, where you can really go in there and be creative and everything.

Some of my best songwriting choices started as mistakes or learning curves, when I accidentally hit a 'wrong' key or something. I try not to lose that the more I learn the how's and why's of piano.

My favorite way to cook is to look in my cabinets and see what I have. That's the most fun. 'I don't have tomatoes, but I have this chili-garlic sauce from the Asian grocery store. Let's throw that in there and see how it affects my beef barley soup!'

I found the recording sessions very freeing because you can really try things. When you're filming something, if you're improvising a film and you're wasting film and wasting a cameraman's time.

I just like being creative, whatever way I have to do it.

I imagine that when I am creating a song or a project or an album or putting some clothing together or cooking a meal, whatever it is, I don't really have a recipe. The fun part is to throw that big piece of clay in the middle of the table as hard as I can, and whatever shape it takes, that's what shape it takes, and then I start to carve away.

There will be days when the stuff is not flowing freely. What you do then is MAKE IT UP!

I think half the point of painting a picture is that you don't know what will happen... that if painters did know what was going to happen they wouldn't bother to do it.

Making movie you just think, well, you know what you're gonna do, and you just when it comes down to the very specifics of it, you kind of have to rely on your mode of panic, and how well your imagination and creativity and all that works when you're in that moment. And you know, frankly, I never worried about that. I never worried that as we moved into the very specifics of it.

I began in 1976, with small abstract paintings that allowed me to do what I had never let myself do: put something down at random. And then, of course, I realized that it never can be random. It was all a way of opening a door for me. If I don't know what's coming - that is, if I have no hard-and-fast image, as I have with a photographic original - then arbitrary choice and chance play an important part.