I always find beauty in things that are odd and imperfect - they are much more interesting.
The wonderful thing about being an artist in L.A. is that there is no taste. There's anarchy of taste, which seems good to me.
In nature, nothing is perfect and everything is perfect. Trees can be contorted, bent in weird ways, and they're still beautiful.
It's a magpie aesthetic: If something is hideous, that's interesting. It's kind of the same sensibility that Andy Warhol had. He was interested in everything and soaked up what he saw like a sponge.
I'm not handsome in the classical sense. The eyes droop, the mouth is crooked, the teeth aren't straight, the voice sounds like a Mafioso pallbearer, but somehow it all works.
I'm very particular who I work with. I'm not interested in portraying women with a cliched, generic look. I'm interested in a model who I can take a portrait of.
I'm not a romantic lead. I have sticking-out ears and a little troll nose.
A painting has to be beautiful. Even in its grotesqueness.
I just kind of, like, put stuff together. I don't really try to make it seem like a 'look.'
For me, I always have looked at 'indie' as a term of 'independence.' Never associated a sonic gesture with that in the same way that pop music has always meant 'popular' to me; you know, it didn't define a sound.
My music was never considered cool, but I've always felt that connection with the audience.
We come from the mentality, that rarely sees the horror in symmetry or the beauty in non-conformity
I do believe very much in the idea of unexpected or 'convulsive' beauty - beauty in the service of liberty.
I never paid attention to what was contemporary or what was commercial, it didn't mean anything to me.
Korean cinema is very improvisational, and there is a unique power that stems from this.
If you make a strange, eccentric record - like the Velvet Underground's 'White Light/White Heat' - it takes on its own mood because it's less about a shrewd marketing plan; it's more about an individual emotion.
Our lives aren't prepackaged along narrative lines and, therefore, by its very nature, reality-based art - underprocessed, underproduced - splinters and explodes.
I love art, but not in a cliched, luvvie way.
We need less perfect but more free films.
Beauty doesn't have to be the perfect image. It's more interesting to have something a bit off.
Beauty is boring because it is predictable.
I see flaws as a kind of beauty.
... beauty, like ecstasy, has always been hostile to the commonplace. And the commonplace, under its popular label of the normal,has been the supreme authority for Homo sapiens since the days when he was probably arboreal.
Bangkok is infamously mired in lurid contradiction, but it's also a city of subtle and distorted moods that journalism and film have hitherto mostly failed to capture.
Even in the centuries which appear to us to be the most monstrous and foolish, the immortal appetite for beauty has always found satisfaction.
