A Quote by Bruno Dumont

Each role demands the right actor. To play an artist, one must be an artist. — © Bruno Dumont
Each role demands the right actor. To play an artist, one must be an artist.
Judging your early artistic efforts is artist abuse. . . Remember that in order to recover as an artist, you must be willing to be a bad artist. Give yourself permission to be a beginner. By being willing to be a bad artist, you have a chance to be an artist, and perhaps, over time, a very good one
Today, each artist must undertake to invent himself, a lifelong act of creation that constitutes the essential content of the artist's work.
I think that is the role of the artist in society - the cultural role of the artist is to perform a healing function.
I am a serious artist in my own right, in the sense that I've spent my entire life being an artist and trying to be an artist and making work.
Is it my role as an artist to say something, to express, to be expressive? I think it's my role as an artist to bring to expression, it's not my role to be expressive.
The critic, to interpret his artist, even to understand his artist, must be able to get into the mind of his artist; he must feel and comprehend the vast pressure of the creative passion.
Now the expectation is that, once the public decides that the artist is gentrified, the public demands that the artist stop growing. And [the public] actually puts all their energy into reasserting or re-establishing what the artist has long ago left behind. Because that's what they want. The source of creativity, the gift that's been given, be damned.
I don't think you have to earn your income as an artist to be an artist. But if you are an artist, then art is what you do, whether or not you're paid for doing it; it is what you do, not what you are. I regard artist not as a description of temperament but as a category of profession, of vocation.
The main difference between the art of the actor and all other arts is that every other [non-performing] artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration, and must know how to call it forth at the hour announced on the posters of the theatre. This is the chief secret of our art.
If the paying public demands naturalistic art, then an artist can use his skills to produce such pictures - but these are to be clearly distinguished from the artist's own art.
Those titles, Executive Producer or actor, are unimportant. I always try to approach my role as an artist. The first thing you want to do, that you attempt to do as an artist, is to have some sort of input into the material that you are working on. That is how my process begins; I say to myself: "I want to do this kind of work or I want to do that kind of work."
In fact, the element of play has an important role in my life, and I think that should be the case in the life of every artist. Our life is occupied with playing, whether we play an instrument or a role.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
I just like artist-driven projects, but for artists themselves: artist spaces, artist mentor programs, and artists buying buildings and making lofts. Doing whatever we can do. Because at the end of the day, I really think that we as a community only have each other.
I'm a recording artist, a performing artist and a producing artist. All those things have everything to do with the outcome of my shows. I get myself studying every part of the game and not everyone has the characteristic to do that. In my mind, you need all three to become an artist.
I have always been a martial artist by choice, an actor by profession, but above all, am actualising myself to be an artist of life.
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