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I think that most great artists who are extremely known, as I am, would intimidate a lot of people. I don't want to do that to people, but I know I do.
What's good about many people liking the work is that when I want to collaborate or am interested in the synergy of artists working together, nobody ever says no to me when I ask to work with them.
Our visual and musical artists have no incentive to be educated. So what we get is a bunch of uneducated artists inspiring misinformation, miseducation and illiteracy.
My bottom line is that I think Ridley Scott is one of the greatest visual artists of our time and I feel very privileged that he wants to work with me, so I go with that flow.
I don't want to be an artist that gets stuck doing one thing. I don't want to be an artist who people look back at and say, 'His early work was really great.
As for an authentic villain, the real thing, the absolute, the artist, one rarely meets him even once in a lifetime. The ordinary bad hat is always in part a decent fellow.
I don't agree with this romantic fantasy that people who suffer from depression are more likely to be artists. I find that I am more creative when I am happy actually.
A lot of times with my more up-tempo music, I try to take the approach of a hip-hop artist, but when it comes to imaging, I've been following the pattern of Michael Jackson, Janet Jackson, Madonna.
I believe that the artist's involvement in the capitalist structure is disadvantageous to the artist and forces him to produce objects in order to live.
I'm just working with ideas in my head and with drawings that the artists did. And suddenly to see these things come to life in movies - it's just wonderful.
My personality is very good for nurturing. I'm very empathetic to my artists. You speak to anyone who's worked with me and they'll say, "Oh yeah, Steve's great. He doesn't have the ego."
That's the thing about great artists: They find the thing that's most obvious to themselves, what's most conscious and natural, and they put it out there and the audience comes.
The artist cannot look to others to validate his efforts or his calling. If you don't believe me, ask Van Gogh, who produced masterpiece after masterpiece and never found a buyer in his whole life.
Something was still there, that something that distinguishes an artist from a performer: the revealing of self. Here I be. Not forlong, but here I be. In sensing her mortality, we sensed our own.
Making social comment is an artificial place for an artist to start from. If an artist is touched by some social condition, what the artist creates will reflect that, but you can't force it.
It is in the intellectual and emotional response, the conscious and subconscious associations of the artist, that the potential power of painting lies.