Artistic Delivery Quotes

When you’re good at improv, even when you’re going to deliver somebody else’s line that they’ve written, you’ve got to nail it. And sometimes it’s not going to be as good as you think, and you have to not worry about hurting each other’s feelings. All that matters is the product itself. All that matters is the show.

You can tell when someone is reading the lines of a song or performing it.

When your principal artists deliver convincing performances, the film's quality is elevated.

I really wanted to get that dynamic on the record onto people and let them know it wasn't just a simple strumming along the guitar type of thing without ramming it down their throats so I kind of went the opposite way and sang some of the songs more quietly which allowed for the louder parts to sound as though there were more. It was the only way singing those songs made sense to me.

And a lot of times in slam poetry I feel like people are so worried about the performance that the words might not be as strong.

Audiences - they like colour, you know. I can go out there wearing a red suit, man, and they'll say I'm out of sight ... I think they should be educated; you should always drop something on an audience ... When you get in front of an audience, you should try to give 'em something. After all, they're there looking at you like this. You can't go out and give 'em nothing.

[I've] learned how to pull the mic away and attack the poetry with my body.

I wish myself to be a prop, if anything, for my songs. I want to be the vehicle for my songs. I would like to colour the material with as much visual expression as is necessary for that song.

I'm here to actually deliver art and deliver the creation, you know, wherever the music brings somebody.

To me, the technique was almost irrelevant; it was what was coming across.

Commercial art is traditionally delivered to a client in a brown-paper bag with an invoice stapled to the outside.

As an audience member, I like the sound of something that's been written - I like it to sound written. And then, of course, you can't do it without the musicians who can play it.

My goal is to leave the producer with so many good takes, that he or she has a tough time deciding on the best one.

I think the medium or format of distributing things has its own characteristics. I think that an exhibition can communicate certain things that a video can't, and publications communicate that in a different way.

When you sing opera you are very far from the people, you are onstage, and between you and the people there is the orchestra. So you have to launch your emotions very, very far. When you sing pop, you are singing very close - the microphone is very close to your mouth. You can whisper your emotions into the microphone.

That's the real endeavor: to try to create that direct conduit from the pure consciousness of your creative voice to the person who's a craftsman who can go into the world and consistently deliver new things worth paying attention to.