A Quote by Harry Connick, Jr.

As you work on something, whether it's a painting or a piece of music, it's going to evolve. A relationship is like that too. — © Harry Connick, Jr.
As you work on something, whether it's a painting or a piece of music, it's going to evolve. A relationship is like that too.
As you work on something, whether it's a painting or a piece of music, it's going to evolve. A relationship is like that too. I don't have to think, What can I do to spice up my marriage? Because as time goes on, she changes, I change. I'm not married to the same girl I met by the pool. I love this woman more than I loved the person I married, but just in a different way.
Look, we don't have the luxury of not dealing with China. There are real complexities to the relationship, whether it's the adversarial piece, whether it's the competitive piece, whether it's the cooperative piece.
There are absences, but there are also presences. It's about how painting can evolve its own abstractions. I didn't know the painting was going to be about that, but it has to have that journey; I have to learn something, I have to end up somewhere I didn't expect to be, otherwise, I don't think it's painting.
When we work on a piece of music, we'll often read the biographies of the composer and learn about what was going on historically and artistically. But I believe that the connection to a piece of music is something much more personal and mysterious than all of these bits of information.
I really like to absorb the project and watch it and work on the music a lot and just get the feel for it until eventually a moment comes where I know I've got it. A lot of it is trial and error. Some days a piece of music doesn't work then other day another piece of music finally says something and works with the picture and suddenly casts a light on all the other stuff you've done - probably because my mind is getting to understand it and the piece is educating me. I always feel like the score is in there already somewhere and I just have to channel it and accent it.
The greatest productions of art, whether painting, music, sculpture or poetry, have invariably this quality-something approaching the work of God.
Creating things. I love the idea of creation and creativity. Whether it's a character, a short film, a piece of music, a painting, or a bookcase - to watch something go from an idea to a creation is pretty much where it's at for me.
I love the idea of engaging the object, whether it be architecture or a piece of good graphic design, or a good painting, or piece of sculpture, or even a piece of industrial manufactured object. A piece of engineering can be quite beautiful, too, or a photomicrograph, or a cosmic photograph. We're physical beings and why deny that. So in that sense, it's very sensual to have an object that has the power to communicate some emotion or a state or give you some sense.
What do artists do? Artists give people something they didn't know they were missing: a dance, a piece of music, a painting, a piece of sculpture. Catering to that need is the best business strategy.
A piece of art - this goes for a painting or a sculpture or a book or whatever - really shouldn't have to do with the set of expectations that the viewer or the audience or the reader brings to that work. It should just have to do with how they interpret it and whether they like it or not.
I think "artistic" simply means there's more of the creator in the thing. Whether it's painting or song or movie or game, the creator puts more of themselves into the piece, so when the audience see it, they feel something real, they feel something human, they feel something that's like a person.
The core of the film [Hunt for the Wilderpeople] is that relationship. Whether they're getting on or whether they're not. If that relationship works, then everything else works as well. And you kind of almost, sort of, gives into a realm of something like New Zealand magic realism... There is no world in which social work is actually pursues some kid into the woods in this manner.
Oh, the foghorns... even the foghorns, they're all brass. It's something by Ingrid Marshal called Fog Tropes. It's not a sound effect. It's an actual piece of music. If you listen to what's going on after he has a flashback about his wife you'll hear... it sounds like the humpback whales in a way. But it's all music. And we use it again later, too.
I guess I think of a musical as something in which the music is sort of like the engine of the piece - whether it is in the theatre or in film.
After 10 years, I have been touring for 20, playing basically the same type of music, a four-piece or three-piece type of music with loud, crashing drums and screaming vocals. It gets to the point where you're looking for something new, and you don't want to do something that's way too left-field, for fear that it might seem contrived.
I'm kind of an insecure artist. I hop from piece to piece. I always think my life depends on every painting. Every painting is my first painting.
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