A Quote by Jeff Koons
I try to create work that doesn't make viewers feel they're being spoken down to, so they feel open participation.
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I feel physically ill if I don't make work, I don't create. I don't feel very good. I don't feel right, I feel wrong.
I just see potential in things that aren't there and how it's going to make you feel. Like, if it makes me feel a certain way, I try and create the vibe of how that felt to me. And try and create it for someone else.
I try to be open with everybody, try to make everybody feel welcome and make them feel like, hey, I'm an easy person to talk to, get along with.
When I'm directing films, I mostly try to create an environment on set that mimics what's in my mind as to the tone and feel of things. I try to create a place where you feel that anything's possible.
When I sit down to make music, I try to enter a flow; I always open a blank session and just make something that I feel like making.
One of my beliefs as a filmmaker is that if you can make somebody laugh, you can make them listen. With laughter, you can get somebody's guard down, you can open them up to listening to you. They don't feel like they're being preached to or talked down to. I think it helps, it makes really hard to understand information a little more accessible and palatable. And at the end of the day, it makes a movie a little more fun. It doesn't feel so heavy handed.
Indeed, the real question is not, "Why greatness?" but "What work makes you feel compelled to try to create greatness?" if you have to ask the question, "Why should we try to make it great? Isn't success enough?" then you're probably int he wrong line of work.
The more I work, the more I try to keep myself open like a raw nerve. When I feel things in a story, I want the audience to feel them as well.
So many things make me come alive, like when I just finish meditating and I open my eyes and it's as if everything is much clearer. I feel like everything in my body has calmed down, and I feel this sense of joy because I am in touch with what's most important in my life. I also come most alive when I am with my family and closest friends who make me feel recharged just by being with them.
When I started, the scripts weren't as good, and you'd have to have a huge burst of energy to go, "Sheesh, how am I going to? This stuff's no good." So you'd have to improvise something or create something or try to work with the ware and try to figure out, how do you make this visually and orally acceptable, entertaining? Nowadays, the scripts are just so much better, that you don't have to feel that way. You feel like the script's coming to you, you can just relax. You don't have to drive the boat.
It sometimes makes people feel better about themselves, you know, to put other people down, or make fun of them, or maybe make mockery of their work and that doesn't make me feel good at all.
I think it's really important, especially with the work space, to create a place that makes people feel creative, where they feel safe, and they feel like they're instantly connected.
I hate letting my teammates down. I know I'm not going to make every shot. Sometimes I try to make the right play, and if it results in a loss, I feel awful. I don't feel awful because I have to answer questions about it. I feel awful in that locker room because I could have done something more to help my teammates win.
If I just wear something because I feel like myself and I'm comfortable, that's okay - and that goes even for more edgy things. But if I try too much, or if I even try, it doesn't work. It doesn't feel natural, and I feel very uncomfortable.
What I do as an art form is try to make people feel good and if I do try to make them feel bad, it's for a reason. There's something I am trying to say.
I would then say that there are two kinds of feeling. The first is to feel in the sense of concentrating your emotions on something immediately available for your understanding: you make your understanding out of the emotions you have about it. The second is to feel in the sense of being affected without trying to understand: something is felt, you do not know what, and it is more important to feel it than to try to understand it, since once you try to understand it you no longer feel it.
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