Artistic Disagreement Quotes

You're an enemy of art and I pity your ignorance," Domingo said.

Ah," he said. "I had an . . . artistic disagreement with the director of the panto. As it happens, I take issue with the objectification of women in Cinderella, and the reliance on shoes as a means of identification. Surely you understand.

When I was 15, I made a solo record. It made Artie very unhappy. He looked upon it as something of a betrayal.

There was a stage when Balanchine and I didn't talk. I was trying to develop my classical technique as opposed to the fast-track technique that he was pushing. We were very quiet with each other. But after two years he saw what I was doing and sent messages through other people that, yes, this is good.

I don't really get that, when groups tour together or even do anything together when they hate each other.

My first production job after M.I.A. was actually the xx, but they didn't like what I did, and at the end of the day, we used their demos.

Editing is the same as quarrelling with writers - same thing exactly.

There comes a point with any collaboration like that where you start having other interests creatively. I was moving in one direction musically, and as a guitar player, Mark wanted to move in another direction. That was essentially the reason we broke up.

There was a period when STP and I weren't making music - we weren't getting along very good at all. But I had my studio, so I was writing and recording a lot of music. But something told me not to put it out. It was all stream of consciousness; it was clever, but it didn't really have substance.

His Holiness [the Dalai Lama] has told me, urgently and repeatedly, that he thinks my photographs are crap. His exact words were, 'These photos are of poor quality. Why is there no sharp focus? There is no clarity!' I said, 'But your Holiness, it's Goyaesque.' And he said, 'No! It's out of focus!'

'Human' was controversial within The Killers way before it was controversial to the rest of the world! It caused some problems within the band. Not to throw anybody under the bus, but it was pretty much me and Dave against Mark and Ronnie for a little while. We were standing up for the song.

I do not see eye to eye with the camera.

Some directors do recut their films, but I don't if I disagree, and what you suffer is a less passionate marketing campaign, less investment in the film at the other end, which is... fine. I get it.

The thinking of John Cage derived from Duchamp and Dada. I was not interested in that.

By the time we made "Abbey Road", John and I were openly critical of each other's music, and I felt John wasn't much interested in performing anything he hadn't written himself.

The so-called intellectuals don't like my films.

I do disagree with the way videos of my songs have been made. 'Afreen Afreen' is a very powerful song; it did not require such a video. The emphasis should be on the song. Again, I have told my recording company, and in the future, they will screen the video only after my approval.

I have been criticized rather strenuously by painters and sculptors for not incorporating their work in our buildings.

Charles Saatchi has never liked my work at all.

'The White Album' is so cool because it was around the time when the Beatles started to not like each other, so they would each go off and do their own thing. It's all over the place, but that's what makes the album so brilliant.

Before 1999, Tracey Emin and Sarah Lucas offered to get me exhibitions, but joining the Stuckists put a kaibosh on all that - because I wasn't prepared to be controlled. I agreed to co-found the Stuckists to be allowed to say what I wanted, and I left the Stuckists because I didn't really want to be in them in the first place.

I wrote five issues of that and got the sack. Actually, they paid me for eight, but they changed their minds about the direction and threw three issues out the window.

It's very tough when two creative people are together.

The saddest day in Pixar history was when some guy said 'get Larry the Cable Guy on the phone.

For a fight to be productive, or at least relevant, writers should fight over different demands they put upon writing (as an individual, private act) and literature (a network of relations in which we are all involved).