A Quote by Brian Froud
I had a job as an illustrator, and I wanted to change the direction of my work. I moved to the country, and immediately I started to paint fairies and trolls.
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Nobody wanted to publish a book about fairies; they said people wouldn't be interested. Luckily, I discovered Lady Cottington and her pressed fairies, which revived a huge amount of interest in fairies, so I could go ahead and do the book I wanted to do.
When I moved to New York, I really wanted to find my bread job as close to my passion as possible. There's nobility in waiting tables. But I really wanted to find a job in the arts, and so I started teaching.
I think I started to have thoughts to really want to be serious about my work when I was about twenty-five, and I just kind of started to look into that direction and moved into it.
Usually, an author writes a manuscript that is handed in to the editor. The editor will then work with an art director to find just the right illustrator for the job, and off they go. Many times, the illustrator and author never meet.
I started at 'The Daily Telegraph' as a daily news reporter. I moved then to 'The Guardian,' and then I moved to New York as the correspondent for 'The Guardian,' moved to 'The Times of London.' And really, it was the best job you could imagine. You could cover any story you wanted in America.
I started my blog as an online diary. I moved to New York for a job, and I kind of wanted to keep my pictures all in one place. Also, I just love style blogs and wanted to join in on the fun!
When I graduated from college, I moved to New York and started doing improv because I read all about the early 'Saturday Night Live' guys having come through Second City and learning how to improvise, so I wanted to get immediately into that.
When I first started producing, all I had was this little crappy sampler called a S20, which had, like, a minute sample time. I was making crappy beats since I was, like, 17 or 18, using Florida rappers, where I'm from. Then I started DJ'ing because I just wanted to have a new job. I was a schoolteacher for a while, and it was the worst job.
I moved to Paris and I didn't really know what I wanted to do, but I moved in with a friend who had an apartment there and was looking for a roommate. Quickly, I discovered that I didn't know what exactly I wanted to do, but I wanted it to be a little creative.
As long as you can change paint, you don't change. For you to change - for paint to do something to you - paint must stay constant.
If I started something, I had to finish. Like with violin. I started when I was seven only because my best mate wanted to. I hated it and wanted to quit, but Dad made me continue, and I got to grade seven. My parents said I had to know the value of stuff and work for stuff.
Like any parents, mine wanted me to have a secure job with a regular wage and career prospects. And the one job my father knew of, that he'd had experience of himself, was the army, so he could help me in that direction.
I had no idea when I moved to Nashville people just were songwriters. I had no idea. So I guess I was selling myself as a singer when I first moved here. But then right after I first moved, I started writing a lot.
At 18, I moved to L.A. with my heavy metal band Avant Garde, which was very much influenced by Metallica. At 19, I got a job at Tower Records, and everything started to change very quickly. I started listening to the Velvet Underground, Pixies, early Nirvana, Sonic Youth, and also earlier music like the Beatles.
Painters paint outdoors, or in rooms full of people; they paint their lovers, alone, naked; they paint and eat; they paint and listen to the radio. It is a soothing way of doing your job.
I moved to the States from London when I was 12 years old. My father was in a band and wanted to tour, so we moved here, but it wasn't until I moved to Williamsburg and had my son that I felt like I finally belonged.
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