Creative Disillusionment Quotes

Everyone loathes his own country and countrymen if he is any sort of artist.

In editing, you really face what the movie is. When you shoot it, you have this illusion that you're making the masterpieces that you're inspired by. But when you finally edit the movie, the movie is just a movie, so there is always a hint of disappointment, particularly when you see your first cut.

You know what, I stopped doing 'Mind of Mencia' because it got hard, and there was a lot of fighting, and it was just time to move on.

You have killed my love. You used to stir my imagination. Now you don't even stir my curiosity. You simply produce no effect. I loved you because you were marvelous, because you had genius and intellect, because you realized the dreams of great poets and gave shape and substance to the shadows of art. You have thrown it all away. You are shallow and stupid

I wanted to resign from the planet, not just music. It stopped being fun with success. Money got in the way. Everybody got greedy, including me. Fear set in. I got miserable when I became a commodity.

Writers who go to Hollywood still follow the classic pattern: either you get disgusted by 'them' and you leave or you want the money and you become them.

Yes, 'Aagadu' was a failure. I was dejected for a couple of months, since there was a lot at stake.

I went to Juilliard as a clarinet major, and somewhere between the beginning and the end, I stopped playing it. I asked myself who was I reaching... I just fell out of love with it.

The first accepted piece of writing is the most exciting. No other publishing experience matches it. Perhaps jaundice sets in, or expectations are raised, or one starts to think that one is better than is the truth.

In 2005, I played Count Fosco in 'The Woman In White' on Broadway. It was a disaster. I was physically run down and terribly homesick and I just knew I had to leave. I lasted three months before the producers released me.

At the very beginning of my creative life I loved humanity. I wanted to do something good for mankind. Soon I understood that it isn't possible to save mankind.

It's rare in Hollywood to get the chance to work on something that you actually care about. The tragedy of the place is all these talented people trying to get excited about stuff they themselves would only view at gunpoint.

By the time I finished comedy, I was really burnt out of it. I had had enough. I don't really have a strong desire to prove myself in that area, or to go back to it in any great way.

I thought I was writing for a fairly hip, intelligent crowd; I just thought there were more of them out there. But they're not. They're not out there waiting. They're not gonna use their intelligence on your book.

I have a feeling he felt Jon Voight had run away with the film, which he didn't, though he was brilliant in it, in a much less easy part. I just don't know what had got into him, but something had.

In my view the time for rousing revolutionary literature has passed, because the revolution has already revolutionised itself to death and has left behind only bitterness and a sort of weariness, listlessness and even nausea.

I have writer friends who go to the premiere of a film with their name listed as the writer, but they are shocked: 'That's not what I wrote!'

A large part of the creative process is tolerating the gap between the glorious image you had in your mind and the sad thing you've just made.

The wonderful fortune of some writers deludes and leads to misery a great number of young people.

I think sometimes when you're working consistently in film, and maybe this is just me, but you do feel quite dislocated from your audience.

Iowa,' for me, I hated doing that album - it wasn't a good experience for me.

When ... I comprehended that poetry had no provision in it for ultimate practical attainment of the rightness of work that is truth, but led on ever only to a temporizing less- than-truth ... I stopped.

At school, film-making had been the most beautiful thing that ever happened to me. Then I get to L.A., and it's this whole other thing. I checked out.

I'd wanted to be a writer my whole life. But when I finally made it, I felt like a greyhound catching the mechanical rabbit she'd been chasing for so long--discovering it was merely metal, wrapped in cloth. It wasn't alive; it had no spirit. It was fake.

You do not become a critic until it has been completely established to your own satisfaction that you cannot be a poet.