A Quote by Rei Kawakubo
What's good about many people liking the work is that when I want to collaborate or am interested in the synergy of artists working together, nobody ever says no to me when I ask to work with them.
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Now what I like is that other artists know my work and are interested in me or want to collaborate.
Luckily, I've had a very good working rapport will all my co-stars. Nobody has complained about me. No one's ever said they don't want to work with me.
Work begets work. Just work. If you work, people will find out about you and want to work with you if you're good. So work anywhere you can. That's why I've changed my mind about these theatres where people work for free or have to pay money. I think it's kind of terrible that they feel they have to, but you know what? They're working.
It really isn't anybody's business how many people we have working for us. What's offensive is that I'm portrayed as this prima donna with these sycophants telling me how great I am all the time. Yes, they do work for me, but we're working together for a higher good.
A work of art does not need an explanation. The work has to speak for itself. The work may be subject to many interpretations, but only one was in the mind of the artist. Some artists say to make the work readable for the public is an artist’s responsibility, but I don’t agree with that. The only responsibility to be absolutely truthful to the self. My work disturbs people and nobody wants to be disturbed They are not fully aware of the effect my work has on them, but they know it is disturbing.
What is important for me is that people are liking my movies, I am liking my work, for which I am very happy.
People will pay for great services. They said they wouldn't pay 99 cents for a song but they did. We've always believed that. When you go to work, you don't work for free; nobody works for free. Nobody can say, "I want to work for free." Nobody says that.
I was interested by the idea that artists working in a totalitarian dictatorship or tsarist autocracy are secretly and slightly shamefully envied by artists who work in freedom. They have the gratification of intense interest: the authorities want to put them in jail, while there are younger readers for whom what they write is pure oxygen.
The most effective tool I have to work with artists I admire is to point to other artists that I admire and show that I've worked with them many, many times. It's not because I have option deals; it's because they want to keep working with us.
When a man says to me, 'Let us work together in the great cause you have undertaken, and let me be your companion and aid, for I admire you more than I have ever admired any other woman,' then I shall say, 'I am yours truly'; but he must ask me to be his equal, not his slave.
Many of the crew members I work with and continue to work with were friends or have become close friends, and so we keep working together. And I like casting friends of mine or people I know in parts I know would be perfect for them. I like to bring things and people that mean something to me in to my work.
I focus on projects I am passionate about and only work with people I respect. Without these supportive teams, partners and clients, I could never work on so many things. I am fortunate that they see the value in the multiplicity of my work and how it all comes together in a kind of virtuous cycle.
For most actors, it's such a struggle to get work. Once they have it, they feel that there's an enormous amount of pressure on them to make it work, and have everyone love them. In my case, it was never like that. It was just about working with the people that I want to work with, and telling the stories that I want to tell, you know?
In my organizations I don't have employees; I have teammates. Yes, I do pay people and offer them benefits. But people don't work for me. They work with me. We are working together to fulfill the vision. Without them, I cannot succeed. Without me, they cannot succeed. We're a team. We reach our goals together. We need each other. If we didn't, then one of us is in the wrong place.
I have a general feeling that writers and artists who are in this peculiar situation, of being a persecuted artist, all anyone ever asks about is the persecution. It may well be that's the last thing in the world they want to talk about. There were many years in which every journalist in the world wanted to talk to me, but nobody wanted to talk to me about my work. That felt deeply frustrating because I felt there was an attempt to stifle me as an artist. The best revenge I could have was to write.
There is no dearth of talented lyricists and I know many of them don't get an opportunity. After I received success, many of them approached me via e-mail or phone calls to tell me about their work. If I feel that a song written by a lyricist is fit for a film on which I am working as a composer, I give them the break.
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