A Quote by Joe Satriani

All of the good things that surround art - you have to embrace the idea that it could be a complete disaster. I think that's what gives it its artistic sparkle is that it really could crash and burn at any moment because you're going out on a limb and being very personal.
I don't think us going out in the crowd would be a good idea. I think that we'd be torn apart limb from limb.
In 2003, being Virginia Player of the Year was an amazing feeling because I think that was the moment I realized I could actually, really go far in my sport, and I was actually, really good at something. At that moment, I knew that I could play at a high level.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
I'm in a complete state of panic before I begin something because I'm sure that it's going to be a complete disaster. I'm going to do a worse job than anybody could ever imagine anybody doing on the planet Earth.
The thought for us [street photographers] was always: How much could we absorb and embrace of a moment of existence that would disappear in an instant? And, Could we really make it live as art? There was an almost moral dimension.
The tears are invisible. I'm in a complete state of panic before I begin something because I'm sure that it's going to be a complete disaster. I'm going to do a worse job than anybody could ever imagine anybody doing on the planet earth.
I've watched the world crash and burn in every sense. I've watched the record industry crash and burn; politically I've watched it crash and burn, financially crash and burn.
Until I was eighteen, I did not know that you could study fashion design or art. I really didn't know. I already had my nose in the art world; I was already looking at things, but I didn't really get it that you could study that because my school was a very different environment.
I think it’s very important to live in the present. One of the great things that improvising teaches you is the magic of the moment that you’re in … because when you improvise you’re in right now. You’re not in yesterday or tomorrow—you’re right in the moment. Being in that moment really gives you a perspective of life that you never get at any other time as far as learning about your ego… You have to see your unimportance before you can see your importance and your significance to the world.
The relationship between art and a job is not quite linear, but I really love any and all manifestations of art, really respect any kind of artistic impulse, whether it's paintings and sculptures or really good filmmaking or music. I really see the relationships between these different mediums as very fluid.
I never felt good enough about myself. I could be better at this, I could be better at that. I could look better. My work could be better. That whole idea that you're going to get caught, you're going to be found out as a fraud. That's one of those reasons I got up at 2:30 in the morning.
I think the biggest, saddest thing that happens in our lives is that we just don't embrace the things that could make it better because they don't seem to make it better at any given moment or we can't decide how to get across the aisle to that person.
I think it's so completely bizarre and arrogant for anyone to ever think that they could lose their innocence, because that implies that they have some sense, some idea of what's going on, and no one has any idea what's going on.
It's difficult to put your own bare ass out on the limb every time you sit down to write a poem. But that's really sort of the ideal. Because if we don't discover something about ourselves and our world in the making of a poem, chances are it's not going to be a very good poem. So what I'm saying is that a lot of our best poets could be better poets if they wrote less and risked more in what they do.
I've always liked the idea of inventing stuff. My father told me, because I was naïve, I would think things could work and therefore do them, because I would have no doubt even though there was no solid foundation for this confidence. I don't think I would be a real inventor. But when I set out to do animation, which was my first step into film-making, I realised I could achieve this idea. I could take some elements, create a sort of clumsy invention, and make them work for the camera.
I think people face that in any artistic field, this idea of: oh, I could do that, if I had the time.
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