Quotes: Doing It for the Art
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"And it ain't even about the dough
It's about gettin' down for what you stand for, yo!"
, X Gon' Give It To Ya
"In the elder days of Art,
Builders wrought with greatest care
Each minute and unseen part;
For the Gods see everywhere."
—Henry Longfellow, The Builders
"I hate this life of the fashionable world, always ordered, measured, ruled, like our music-paper. What I have always wished for, desired, and coveted, is the life of an artist, free and independent, relying only on my own resources, and accountable only to myself."
Calvin: Look at the dopey clay tiger Hobbes made.
Calvin's Mom: Gee Calvin, I think this is good.
Calvin: You LIKE it?? Where's the marketability?
Ask Hobbes if we can put it on the coffee table.
"Our works in stone, in paint, in print, are spared, some of them, for a few decades or a millennium or two, but everything must finally fall in war, or wear away into the ultimate and universal ash - the triumphs, the frauds, the treasures and the fakes. A fact of life: we're going to die. 'Be of good heart,' cry the dead artists out of the living past. 'Our songs will all be silenced, but what of it? Go on singing.' Maybe a man's name doesn't matter all that much."
"MONEY? Who cares about money?! This is art, you blockhead!!"
"Did you think the great Kishibe Rohan draws comics because he wants money!? I draw comics because I
want to be read! That's the one and only reason. I couldn't care less about anything else!"
"We realised that struggling artists are meant to struggle, that's the whole point."
"Actually, I was given an ultimatum — basically like a slap on the wrist, like, 'You shouldn’t have made ‘Harmonium’; you should have done everything we said.' Meanwhile, it wasn’t supported by them, so of course I was doomed to begin with on that project. They pulled the plug on my record...So what’s the point of having an aesthetic and being an artist if you’re just some kind of puppet for a team of people that don’t necessarily know their own aesthetic? There was no other choice for me but to leave."
"I think that attitude has changed since that statement, because any kind of mainstream acceptance that's going to happen is going to happen without our doing anything, and it has been that case periodically throughout our career...we find the way that Sparks' music gets a bigger audience is when we are at our most eccentric and not concerning ourselves wondering 'Does this fit in?' or 'Is this commercial?' or 'Is this going to work on a radio platform?' kind of considerations. When it's at its most extreme is when it's at its most interesting."
"Fortunately, even at 22, I thought that what mattered most was not the world’s view of me but my view of the world, and so I survived. Others did not — like
[John Horne] Burns, the best of us 'war novelists.' After the press attacked his
Lucifer With a Book, Burns fled to Europe and deliberately drank himself to death at 36. One must be very tough to endure as a writer in America. Since I’ve endured for almost a quarter century, I must be tough."
"My goal was just to work regularly. I didn't ever expect to be rich or famous. I wanted to be a working character actor."
"Money is the last thing I think about. I could live on what I have already made for the next few centuries."
"Gordon Parks again, in his book
A Choice of Weapons—to paraphrase, he says 'One of the most important weapons that you have is your mind.' And also love, of course. So, in the sixties, when the civil rights movement, the war, all these things that are going on, I chose to use the things that I had been given: my mind, my voice, my heart, you see? And so theatre became a tool for me, as it still is, a tool to talk about the world. That's exactly what it is. Worth more to me than even money."
"I don't want to make responsible shows about lawyers. I want to invade people's dreams."
"Evangelion is my life, and I have put everything I know into this work. This is my entire life. My life itself."
"Part of me said, ‘So what? You’ve got a baby. You are making a lot of money. Shut up, enjoy it; go home early; go in late; relax. You’ve had a long ten years; take a break.’ But I couldn’t. It just ate at me. It was an integrity issue. I took a lot of pride in the work. The work matters to me. I took a lot of pride in what I did on TNG and DS9 and the movies. I just couldn’t work that way."
"We didn't make them for kids. We made them for ourselves."
"I have several problems with licensing. First of all, I believe licensing usually cheapens the original creation. When cartoon characters appear on countless products, the public inevitably grows bored and irritated with them, and the appeal and value of the original work are diminished. Nothing dulls the edge of a new and clever cartoon like saturating the market with it...as a practical matter, licensing requires a staff of assistants to do the work. The cartoonist must become a factory foreman, delegating responsibilities and overseeing the production of things he does not create. Some cartoonists don’t mind this, but I went into cartooning to draw cartoons, not to run a corporate empire."
"The 'fine artist'—the pure artist—says to the world: 'I didn't do this for money! I didn't do this to match the color of your couches! I didn't do this to get laid! I didn't do this for fame or power or greed or anything else! I did this for ART!' In other words: 'My art has no practical value whatsoever!
"'But it's important!'"
"This isn't a job for me, and I'll never modify my approach to protect a bottom line. If it was just a job, I guarantee I wouldn't spend every waking hour doing it. It's kind of a strange personal mission I'm on, which I happen to make money from, and that's cool. People are welcome to come along for the ride."
"It's the difference between saying 'how can I make the best work with $X' versus 'how can I make the most profitable work with $X'. Sometimes they overlap. Sometimes they don't."
"I believe there's a misconception that if you put a girl or a woman on the cover, the game will sell less. I know I’ve been in discussions where we've been asked to push Ellie to the back and everyone at Naughty Dog just flat-out refused."
"This is the material, by the way, that has kept me virtually anonymous in America for the past 15 years...'Why doesn't he just hit fruit with a hammer?' Folks, I could have done that, walked around being a millionaire and franchising myself but no, I had to have this weird thing about trying to illuminate the collective unconscious and help humanity. Fucking moron.”
"I still do some free stuff from time to time. I'll do some PSAs [...] and I'll put just as much if not more of myself into those than I do for the highest-paying gigs. And even anime in these days; it doesn't pay the bills, you can't survive off of it; but I love working in that environment, I love the people that I'm working with in that environment, I love the passion that people have for anime and I love the fans."
"Bill couldn't get a whole helluva lotta momentum in the American McWorld (though he had a frequent spot on the Letterman show and did an HBO special sponsored by Rodney Dangerfield)...One of the things that pained Hicks the most was watching his former idol, Jay Leno, shilling Doritos to bovine America ('Crunch all ya want. we'll make more!') and becoming a corporate fuck-bag for NBC."
"Imagine if Homer stopped the Odyssey because people complained that they didn't like the iambic fomat, and preferred lines of two trochees, because it was SHORTER.
Homer told them to jump in the lake and wrote a masterpiece, and he made it as long as he wanted it to. Now, of course, rumor is that Homer was a bunch of guys, and the only stab I have at Homer is the one that goes 'D'oh!', but you see my point. Art is not about the audience. Art is about the integrity and choices of the artist, and if said artist can live with the ramifications of what he does."
"Today's faceless AAA industry rarely indulges auteurism, as throwing babies out with bath water is now so routine for big business that the babies have formed their own society in the outflow pipe. But (John) Romero's vision also gave us Deus Ex...There was something morbidly satisfying about
Daikatana being shit. It was a modern day Icarus flight, bringing a big ego back to earth. Today, as long as the publishers bombard us with enough prerendered teasers, mocked-up gameplay videos, little white lies and
big black stodgy ones to move enough units on launch day, they have the luxury of immediately not having to give a shit what we think."
Rich: More power to him.
Jay: Yeah, he has some funny stuff in this movie, but I know he didn't wanna do it, so the fact you get anything out of him is impressive.
Jay: Yeah, he's not interested in living in the past.
Rich: And you can hate him for that, but... he's right, and he's justified, and he doesn't owe you anything!
Exactly. And look at where his career has gone compared to—to—...Dan Aykroyd's
Rich: I love Dan Aykroyd. I do.
Yeah, I know... I know. (sigh)
"Let's recap: Bowie plays to one of the largest venues in New York, goes onstage with someone far more popular than he at that specific moment in time, and plays to the other guy's audience. Then he plays only demanding music that his own audience does not know. Bowie played great and tanked. He knew he would. How could he not? And he just didn't care. He did what he wanted to do, able to withstand a stadium's worth of undeserved antipathy and indifference... More than at any other time in his career, Bowie was my hero that night. Putting himself into the mix in the exact way he wanted, hoping to be appreciated, but not depending upon it. Not having his sense of self shaken. "
"When I rewatch his work, these little things are the ones I'm most impressed by: he doesn't need to do them and they eat into his budget; but he stlll does them because he wants to. And it's that going above and beyond that I respect and admire."