A Quote by Chester Bennington
As an artist, I want a reaction.
Related Quotes
I think the worst reaction that I could get from someone to my photos is some sort of mediocre, middle-range reaction where they really get nothing from it, and they want to move on to the next thing. [I'd rather they be] horrified, pissed off at me, extremely disgusted at how bad of an artist I am.
When you are writing for an artist you are trying to get into that artist's point of view. What does that artist want to say? What do they care about? And musically, you want to show off that artist.
I don't think I'm an artist or that I'm doing anything superintellectual. What's important to me is to get a visceral reaction from people, for them to want that coat because they think it's beautiful.
The reaction to any word may be, in an individual, either a mob-reaction or an individual reaction. It is up to the individual to ask himself: Is my reaction individual, or am I merely reacting from my mob-self? When it comes to the so-called obscene words, I should say that hardly one person in a million escapes mob-reaction.
My main goal as an actor, with my craft or whatever poncy way you want to say it, is to always take the audience with me. To make them feel for me, or to make them hate me, I want a reaction. I want their emotions. The worst reaction someone can have is, "eh."
We like reactions - a reaction is walking out on us, a reaction is throwing tomatoes at the stage, that's a healthy psychological reaction.
I wouldn’t want to be labelled unless it was something much broader and inclusive such as an ecological artist or a visionary artist, but there’s a constraint in the definition of a feminist artist, you’re an artist and you’re a feminist.
Poor Englishwomen! When it comes to their clothes- well, the French reaction is a shrug, the Italian reaction a spreading of the hands and a lifting of the eyes and the American reaction simply one of amused contempt.
I want to be an artist artist, a real artist. I don't just want to do this for temporary money.
I don't want to feel like the cool kid in the crowd who doesn't want to do what the artist's saying. I want to be so in awe of the artist that I'm literally jumping up and down, even if I've got on brand new Louboutins.
There's a perception that if an artist produces another artist, they're going to imprint on them. But I'm the opposite. I want to hear that artist; I don't want to hear me - that's the last thing I want to hear. There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.
When a person is dispossessed of his land, there is a reaction and you have to deal with the reaction properly. You just can't deal with the reaction by giving him money.
When we do not understand something, a common reaction is to fear it. In government, this is the usual, and encouraged, reaction. The reaction to the gig economy has been no different, and this growing fear has unfortunately turned into a legislative bloodbath.
People don't step outside themselves and make the film they want to make, because they're afraid of the reaction. But once you get that reaction and have lived through it, there's nothing they can do to get you down.
Writers write for one reason: to create an emotion in the reader, to reach across and make them feel something. You want a reaction. Yeah, it's nicer when the reaction is to throw flowers than it is to throw brickbats, but you have to accept both equally.
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.'
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