I don't know if there are artists out there who love their own records. I haven't met any, and I'm kind of extreme in the other direction, but therein lies the impetus to keep working and keep making new songs and new records.
There is no doubt that I feel bad when a film flops, but I can't sit back and not take up new work owing to that.
I think you don't do work for controversy alone, and whenever you do new work which people don't understand and they say it is done to create controversy.
I really don't find revivals very interesting because I like new work a lot. I feel like if you're going to pay me, then let me do what I do and let me try to solve some problems. Let me try to make something fly. Why would I do something that everybody has already done the hard work on? But that's me. Tons of people do revivals really well.
I'm interested in creating new work.
No barber shaves so close but another finds worke.
There's a need to keep the history of an artform going, parallel with the new work that's being done.
What's missing in the musical theater is producers willing to nurture new work, raise the money and put it on.
So the best way to understand poetry, which is made by men, is to imitate, and that goes back to making work as a kind of doorway into new work, as opposed to making work as a mirror of the old work.
I always crave to see more stories about and by people of color, particularly new work by young black writers.
The fact is that people are attracted to new work and by new work.
I just don't want to live in the past. I'm really disappointed by so many people of my generation who - in order to promote their new work, they have to constantly lean on their past. I don't want to be that type of artist... I see a lot of people out here doing really marginal music.
When I was going to get ready to take 'Dietland' up, I have to say I was surprised to find that I felt like maybe we wouldn't find a home for it because it's unlike anything else that I've done.
As artists, we're always going to like the songs we just now made over the songs we made a year ago.
In 2009, I began creating 'Waterworks' with the new vernacular coming from the 'Signs of Life' work in Las Vegas.
There's always new work to do. Adjusting to the rapid pace of technological change creates real challenges, seen most clearly in our polarized labor market and the threat that it poses to economic mobility. Rising to this challenge is not automatic. It's not costless. It's not easy. But it is feasible.
Broadway remains the closest thing we have to a national theatre, the place where the greatest number of people can potentially see new work. For an American playwright to say it doesn't matter is simply to capitulate to the current situation.
The little dissatisfaction which every artist feels at the completion of a work forms the germ of a new work.
Every time you have to come up with a new body of work for a new show, you're aware that people are just ready to rip you apart, they're just waiting for you to fall or make the slightest trip up.
I really, really love new work, and that's why, you know, I produced a concert series supporting new musicals and stuff like that. I hope to do more things like that.
'Bloodshot,' for me, was unlike anything I'd ever done before, which was really the draw of it. In addition to trying to reconnect with my earlier work, I also wanted to try to do something that was completely new and different.
Doing work points the way to new and better work to be done.
What I look for in theater, I really like new work, and I really like the concept of age not necessarily being a defining aspect of who you are or how you act.
Sometimes I just have a few people over to see the new work, and I think it works better than in a museum situation, where the public is just presented with a large area.
My intention is to make sure that the new work being created for the ballet world is relevant.
