A Quote by Cliff Chiang

Paul Smith's artwork was so elegant and so graphic, so I think that's always had a strong effect on me, especially starting out. — © Cliff Chiang
Paul Smith's artwork was so elegant and so graphic, so I think that's always had a strong effect on me, especially starting out.
I've always had Paul Smith wallets for some reason.
Whenever I work on an album and the time comes to do all the artwork, the only thing I think of is the LP artwork. When we worked on the 'Electric Trim' artwork, we spent weeks and weeks making the LP artwork great, and then the CD artwork came together in a day or two. The LP is what's important to me.
I've played lots of strong women in film, in big Hollywood films, and I've sometimes had a hard time in coming to a consensus of what makes a woman strong. What is it that positions her as a force to be reckoned with? And I think it's because there's an expectation from the get-go that she isn't. If you're not starting from a deficit as a point of view, but you're starting from an assumption that says, "Well, this is what women really are," then it's a really freeing experience as an actor and as a woman.
I was very conceptual about what I was doing; I had the first five albums planned out, and all the songs on every album, and the artwork. I always had these ambitious musical projects in mind.
For artists, we're always looking for approval. We're putting our artwork out there and saying, 'What do you think?'
The show was called 'Jean-Paul Sartre and Ringo.' Bonnie Hunt was in the cast and she made the biggest impression on me. That show just blew me away. I couldn't believe these people were doing this. So that had a big effect on me.
I've made a poster at home. You know the iconic image of Che Guevara, the black and red graphic of his face? I think it's the perfect graphic, the best graphic ever made. I cut a Concorde out and put it over his head so it's Che looking up and the Concorde going by. Both are dead, maybe obsolete.
I wrote a graphic novel called 'Soul Stealer' with big, beautiful, epic artwork by Chris Shy. It grew into a trilogy.
I think people think of me as this elegant person because they always see me dressed up.
When I was starting out, I didn't know what the hell I was doing and my person who was helping me out, I didn't even have an agent, got me five or six big auditions for leads in movies in 1986 that I had no business auditioning for. I think I ran out of three of them before I'd even finished.
Yoga has always been a part of my life, and it has had a major effect on me as a person, inside-out.
I'm a severe graphic novels junkie. People ask me about it, and I say I like the graphic novels. Comic books are for kids, and graphic novels are for adults. But you can't really separate the two.
I wrote 'No Words' and 'Mull of Kintyre' with help from Paul. He was always like a big brother to me and a strong influence on my songwriting.
In 1990, Paul Smith and I decided that conducting polymers as materials had developed to a level of maturity that commercial products were possible. With this as a goal, we founded UNLAX Corporation.
So many people in the gay community have always asked me to come out, say it like it is, and help our cause. But for me... I think my biggest statement I could give to the world is to be strong being myself... you have to make something of yourself, and that's what makes us strong.
Some of the more intensive scrutiny when I was first starting out definitely used to be tough to handle; I was only a teenager, yet was being analysed in newspapers world over, often by people who already had a strong opinion about my privilege before hearing me play.
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