A Quote by Jim Lee

From an artist's point of view, I always want to work with the writers I admire. — © Jim Lee
From an artist's point of view, I always want to work with the writers I admire.
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 always want to be a member in the audience, and I want to hear it from their point of view and see it from their point of view so I can know if it's good. But that's just my issues, not a real problem.
You're...writing for other writers to an extent-the dead writers whose work you admire, as well as the living writers you like to read.
All writers, in all viewpoints, must choose which information and scenes will be presented, and in which order. In that sense, the author is always represented as a point of view in a work of fiction. His hand can always be detected by the discerning.
[T]he more clamour we make about 'the women's point of view', the more we rub it into people that the women's point of view is different, and frankly I do not think it is -- at least in my job. The line I always want to take is, that there is the 'point of view' of the reasonably enlightened human brain, and that this is the aspect of the matter which I am best fitted to uphold.
As an artist, my wheelhouse is 19th-century literature. I want to write realist novels in a Victorian sense, and the writers I admire in that style tend to do omniscient narration.
I always admire writers. My father was a writer, a poet. I always admire people who can clearly state their mind.
The way we learn to write is the way we learn to talk: We listen to others and start mimicking speech, and that's how we come to become speakers. Writers you admire, you admire the way they plot, you admire the way they create a character, you admire the way they put a sentence together, those are the writers you should be reading.
I've always been a big proponent of point of view in cinema. Not necessarily that the point of view has to be subjective, but that in all great films the point of view has been taken into account and established.
A work of art is finished, from the point of view of the artist, when feeling and perception have resulted in a spiritual synthesis.
It's a scary thing for fiction writers, when you're always writing from the point of view both as and for someone who is different.
The last thing you want to do is preach to the converted. What you want to do is talk about issues from a non-political point of view, from a human point of view.
I don't think that writers or painters or filmmakers function because they have something they particularly want to say. They have something that they feel. And they like the art form; they like words, or the smell of paint, or celluloid and photographic images and working with actors. I don't think that any genuine artist has ever been oriented by some didactic point of view, even if he thought he was.
I want people to know my political point of view. There's an appetite for that, almost an expectation. I also want to make people laugh, but I wouldn't want to do it at the expense of my point of view.
Everybody you work with sees what you're doing from a different point of view, a very specific point of view. So, if someone is lighting, they're seeing it from that point of view. A production designer is seeing it from the placement of furniture that tells you about the character. Everything that goes into the room should tell you about the person who lives in that room.
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."
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