When I listen to a Coldplay record, you're gonna hear an indie band, and you know that's what you're gonna get from Coldplay. With myself, I'm not sure it's the same.
What has stayed true all the way through my work is my composition, I hope, and my sense of color.
Hitchcock was one of the few people in Hollywood who had a brand. Every movie he made was an Alfred Hitchcock movie, couldn't have been anyone else.
I think the sophomore curse happens when you change every bit of yourself. Though my hair is blonde now, sonically it's still the same girl; conceptually it's still the same girl.
Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside.
By and large I think art is made by people who have discipline married to talent in sufficiently large amounts to work even if they don't feel like it. Anybody can get maudlin and decide to write poetry at 11 at night; the question is, can you do it at 8:30 on a Monday morning..?
There is one Metallica. We have many styles, it's called Metallica.
No matter how long you play rock n roll songs might change just as the balls are there, the rock balls. And that's what's important to us.
You're not going to hear me do a rap song, you're not going to hear me do a jazz song. We have to be true to our roots, do what we do, and try to do it a little better each time.
I stay true to my lyrics. If I go back and look at them in hindsight, the emotions I had when I wrote them have passed. It feels unjustified to change them.
My aim is just to make good music every single time.
I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.
Oftentimes, when a movie turns into a series, you never retain the creative auspices. You buy the idea, you buy the franchise, and then you bring in a whole new creative team and copy the tone or sensibility.
I could never change the overall feel of my music. That's why people like me - I don't follow trends, and I don't follow crowds.
I've explored a variety of directions and themes over the years. But I think in my painting you can see the signature of one artist, the work of one wrist.
I have been known as the minimal and conceptual artist for over five decades. I think I haven't changed much.
Stylistically, we're trying to push things in different ways, but it always comes out sounding like Tool no matter what we're trying to do.
The idea of doing a period movie, some people say, "Isn't it odd that you're doing a period movie? That's a change of pace for you." And, I'm like, "Not really." When you're doing a science fiction movie, it's almost exactly the same.
I was always a fan of Nic. With his movie, you know it's "A Nic Refn Movie."
I have never had anything to do with the kind of fashion that is influenced by the press or identified with the spirit of the season. My clients come for me; they come back each season for my spirit. That's the reality.
I don't have stylistic loyalty. That's why people perceive me changing all the time. But there is a real continuity in my subject matter. As an artist of artifice, I do believe I have more integrity than any one of my contemporaries.
What I adore is supreme professionalism. I’m bored by writers who can write only when it’s raining.
I will say what I aspire to is a consistency in making films, to direct something every couple of years.
I think Woody Allen is Woody Allen, and no matter where he goes he still makes his Woody Allen films.
I always try and bring screenplay, shooting and editing into a sort of symbiotic - as close into alignment as you possibly can get them, consistent, obviously, with the resources that you've got and the time you've got available.
