No two people who make a movie on a certain budget scale are going to achieve the same thing because it just depends on what sort of favors you can call, and what sort of dynamics you can pull in the play.
I've always looked forward to do something different in all my films.
Hip-hop is not one thing!
There is not one thing that's Beatle music. How can they talk about it like that? What is Beatle music? Walrus or Penny Lane? Which? It's too diverse: I Want to Hold Your Hand or Revolution Number Nine?
Make your faces so that they do not all have the same expression, as one sees with most painters, but give them different expression, according to age, complexion, and good or bad character.
You look at CG sometimes and its terrible. You look at CG sometimes and its great.
What I do is interpret, not create. I may add elements and do something different. That is what is so incredible about theatre. Why do we love it that there are nine Hamletsor six King Lears over two years? We love to watch a different actor attack the same material.
The negative is comparable to the composer's score and the print to its performance. Each performance differs in subtle ways.
Every album that I've attempted, I suppose, has been different - it's bound to be.
The modes of expression of men of genius differ as much as their souls, and it is impossible to say that in some among them, drawing and color are better or worse than in others.
A lot of music doesn't do one thing or another. It just doesn't do anything. Then there are those pieces of music that thrill your soul. It's such a wide range, and it's really interesting that we all love different things.
What works for one writer may not work for another. There are as many methods as there are writers. Were you to live to a grand old age, you would still never have enough time to try them all.
Techniques vary, art stays the same; it is a transposition of nature at once forceful and sensitive.
I play enough other mad people, as well and some sane people, to vary the palette of what's scrabbling around in my head and soul to bring to the floor, as a storyteller.
There's a kind of passionate expression in all my pieces. It's just that the nature of the expression takes different forms.
Every director is so different from every other one.
With every film, for which I'm the only composer, I try to switch genres. I find that really exciting.
Contrasting styles is always the most fun to watch.
One of the wonderful things that I've always loved as an art student, what I always loved about comics, was that they are interpreted differently by different graphic artists all the time, so now film is doing that thanks to Marvel Studios.
If two-three films of mine release at the same time and if all of them feel like they are from the same lyricist then something is not quite right. The language of all has to be different if they are different stories.
Most acting today on television is like a locomotive on a track. Everybody knows what they are doing. The problem of writing today is everyone sounds the same. We speak differently. We think differently. People are different. And that's the beauty of it.
I wrote a play once called 'Lobby Hero,' which I thought turned out very well, but there's no final version of it. I published the one we produced, but there are seven other versions with different variations sitting in my desk at home.
I can like Jack Nicolson's Joker, and I can like Heath Ledger's Joker. There's other Jokers I don't have to like.
The Replacements don't sound like The Replacements half the time!
People are always trying to figure me out, given the varied nature of my films and shows.
