I'm always about trying to fill a need with what I do in my artistry. There is definitely a need in the performing arts world for a movement to come along that seriously connects with a next generation audience while still maintaining the timeless artistic objectives present throughout the history of the American music tradition.
When I was in school I read a lot of comic books and pretend I was in them and kids would tease me and call me names. But now I do the same things and people say that I'm artistic and cool and I'm doing the exact same thing I did in high school.
New Jersey is to New York what Santo Domingo is to the United States. I always felt that those two landscapes, not only just the landscapes themselves but their relationships to what we would call 'a center' or 'the center of the universe,' has in some ways defined my artistic and critical vision.
All my artistic response comes from American things, and I guess I've always had a weakness for heroic imagery.
The elite private tutor is typically ivy-educated and falls into one of two categories - a twenty-something pursuing an artistic career on the side, or someone older who has made a career out of college-prep. They are presentable, well-spoken, and are treated by doormen as guests more than as employees.
I make my films because I'm affected by a situation, by something that makes me want to reflect on it, that lends itself to an artistic reflection. I always aim to look directly at what I'm dealing with. I think it's a task of dramatic art to confront us with things that in the entertainment industry are usually swept under the rug.
I'm enamored with the art world. Anytime you look at anything that's considered artistic, there's a commercial world around it: the ballet, opera, any kind of music. It can't exist without it.
The artistic capability of reinforced concrete is so fantastic - that is the way to go.
Privacy is important to me. But it's not just about sticking two fingers up and saying I don't want anyone to know my business. It's an artistic choice. I think that for any actor to convince their audience that they have completely inhabited a character requires a certain level of anonymity.
I'm not artistic nor am I all that creative.
I am very lucky that I get to go to work and laugh all day for my day job, and then go home and torture my artistic self.
I see procrastination and research as part of my artistic process.
I came from a lower-middle-class postwar family in a time of austerity and retrenchment, with no one in the family who was in any way artistic or a potential mentor to a budding writer, and yet this is what I became.
I love my neighborhood: There are Russian families, the artistic community, the gay community, and industry professionals - all ethnicities and ages are represented. That's the kind of neighborhood that I grew up in.
I really wish people - maybe it's naive - wish people had priorities and were willing to be artistic patrons.
I never want to be an artistic bully, and put myself above anyone else... or be more prestigious than anyone else. You like what you like, and you have to take that as you want it.
The people who are competing business-wise out there want what other successful labels and artists have. I don't want what they have; I want my own path, my own sound, my own identity. Record labels care nothing about identity or artistic freedom, they want good business.
I want to inspire Asian kids to become more artistic and creative rather than feeling that they have to be academic or whatever.
I just love ballads. I am obsessed with them, so I've written a lot of those. They just kind of touch on all the different types of emotions. Though, I think poppy, feel - good songs are underrated and not seen as artistic enough.
My first love is art, and I see a lot of things in an artistic way.
There is something inherently valuable about being a misfit. It's not to say that every person who has artistic talent was a social outcast, but there is definitely a value for identifying yourself differently and being proud that you are different.
The artistic side of our family was very important because one person encourages the other. It was a vey enlightening place to be as a kid because of all the music and dancing, and my dad played banjo; my sisters played piano and sang.
You have to be practical. So every time I say, if you want to write a novel you have to be practical, people get bored. They are disappointed. They are expecting a more dynamic, creative, artistic thing to say. What I want to say is: you have to be practical.
Crumb was such an influence on me. He's such a visionary, such a great artist, that he so shaped my artistic sensibilities on a certain level that I do owe everything to him. The way I see the world is largely changed by him.
I'd grown up doing children's theater there, and I always imagined myself being artistic director of a children's theater company.
The relationship between art and a job is not quite linear, but I really love any and all manifestations of art, really respect any kind of artistic impulse, whether it's paintings and sculptures or really good filmmaking or music. I really see the relationships between these different mediums as very fluid.
I think there is some overlap in terms of artistic desires and Christian desires.
What my work is, is my approach to it. It's the practice. And my work is about the effort that I make to get there. And I think if there's anything artistic, it's in that middle space.
I would hardly say that I have a rich knowledge of anything in particular, but I do seem to be burdened with an unseemly appetite for intellectual and artistic erudition, which, for the sake of balance, I keep well harnessed to a reliable sense of the absurd.
The people that have inspired me the most were dancers and choreographers. Even growing up, if I dealt with any pressure to be a certain way, I knew that as an artistic lane, dancing was the one that was a little more freed up - like, no one in my family is really doing that; I can be that person.
I've got a lot of artistic energy, but there's only so much of it, though. You don't want to spread yourself thin.
Being taken seriously, for a young writer, is a wonderful form of encouragement, but at the same time, I don't think one should ever feel like attempting a kind of artistic endeavor is beyond your scope just because of age or inexperience.
I don't come from an artistic family, so I didn't know what theater was. I was working on Wall Street in the '90s, and I went to see 'Appointment With a High-Wire Lady' at Ensemble Studio Theatre, and it affected me so deeply. It changed everything I thought about the arts. I quit banking and became an actor.
You know, with the film industry crews, there's an odd mix between a very technical and a very artistic approach to the work, and sometimes as a woman you have to be a little bit careful about how things come out because people don't really want to listen if it's in a certain emotional tone or too strong.