Artistic Outcome Quotes

When you're releasing an album, you never know how it's going to go. You never know how a critic is going to receive it or how much it's going to sell.

We work hard on every film, and then it's up to the audience whether they like it or not. At the end of the day, it is the audience wish what to accept and what not.

There's never been a mathematical equation that says a good experience making a movie equates to a good movie, or a bad experience on a set is going to lead to a bad movie.

What's interesting is that you can have a set that's very calm, very smooth, very cooperative... and end up with a terrible movie. And you can have a set that's really horrible as far as relationships and volatility, and come up with a great movie. Sometimes that energy gets infused into what ends up on film - it's interesting in that way.

Sometimes the songs you think will be best don't turn out to be best.

Photography has no rules, it is not a sport. It is the result which counts, no matter how it is achieved.

All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression. To call this expression abstract seems to me often to confuse the issue. Abstract means literally to draw from or separate. In this sense every artist is abstract . . . a realistic or non-objective approach makes no difference. The result is what counts.

I feel like you have to make art because you have to make it. But the end result of it- that last stage- you have to show it to somebody else to hopefully get a rise or reaction out of them- [to see] if it’ll affect someone else.

[The artist's aim is] not to instruct the viewer, but to give him information... . The artist would follow his predetermined premise to its conclusion, avoiding subjectivity. Chance, taste, or unconsciously remembered forms would play no part in the outcome. The serial artist does not attempt to produce a beautiful or mysterious object but functions merely as a clerk cataloguing the results of his premise.

You think you're writing the most important book, you think you're writing the most stupid book, and you never really know before it's done that it's going to be done.

When they write a bad review, and you agree with it, that's the worst feeling. When you know you've done what you wanted and the best you could and you love the outcome, then you look at everything differently. Not everyone's going to love everything you do.

I think that 'God & Guns' turned out a little more 'country' than we wanted it to be.

In the course of a life devoted less to living than to reading, I have verified many times that literary intentions and theories are nothing more than stimuli and that the final work usually ignores or even contradicts them.

I knew Spike Jonze would do something really interesting with it.

I've come to realize that the contemporary creative culture is not generating the best possible outcome.

To the audience it doesn't really matter how much the director struggled with an actor. It's the result that counts.

You always hope for the best when you put something out and try to make the best music you can make, but you can't control what happens after that.

For me, 'Gulabo Sitabo' is a satire... I wanted to do satire and I think it's turned out exactly how I wanted it to be.

It's tough to watch a movie you're in - you put everything into it, you want everything to work, and you never know until you see it all together.

You just don't know when you get all the paint across the canvas how it will turn out. When you step back after you've finished, you say, 'This one is not so good. This one is good.'

Stopgaps do belong to the internal economy of the form, since the Whole requires them, even if only in a subordinate position ... The stopgap Luigi Paryson's 'zeppa' accepts its own banality, because without the speed that the banal allows up, it would slow up a passage that is crucial for the outcome of the work and its interpretation.