Jim Root Quotes

I work in whatever medium likes me at the moment.

I would never pigeon hole myself stylistically because I just don't know what I am going to want to do next.

It's very important to understand that we never do the same thing twice; each of our projects is unique. We'll never do another 'Gates.' Each project is a unique image. We do not know in advance how the work will look. I do preparatory drawings, but they are only projections of our vision.

With Fincher, you can take chances and try things. And what happens is that any pretension and preparation you've done, all the square, intellectual work, you can't keep that up for 40 takes. It breaks down, and new things start popping up. This, for me, is the most exciting thing about film-making.

Yes it was chaos, working through chaos, you never quite knew what you were going to do each day, but you knew that you wanted to make something.

I've never really had a certain style of music in mind that I make, or am really adamant on how something should sound, but I like the process of not knowing, of just seeing what happens and what comes out.

I just go with the flow, so any style can be in my music - that makes it exciting.

Some song ideas absolutely require a kind of rigid discipline, and others require absolute chaotic abandon. The form is only valid if you know how to un-form it. I don't mean to sound like an intellectual here!

Artwork is not like a commercial business; there is no such thing as a schedule for art. You can't hurry art.

We have the script, we have the actors, and we're trying to figure out what this is, and you don't know what it is. You have to be open to what it's going to become rather than have this thing that you're trying to get to, which is boring.

The artist discards all theories, both his own and those of others. He forgets everything when he is in front of his canvas.

When you're making music, it's meant to be shared with people. Sometimes, even if I'm writing a song, someone else brings a vibe. There's something different about it. If someone can play a better bassline than me, I'll let them do it. I'm just here to fit in and see where it goes.

Every form has its merits. And I like to work in a lot of different forms.

Shooting should not be about delivering something I've prepared; it should be a live process of finding things out. When things happen that you haven't planned, that's when the film comes alive.

You've gotta leave enough space for your actors to bring stuff to the table and whatever the weather's doing that day or what the light's like. Things can shift, and you have to be malleable. Every day is a different feeling and a change.

I don't want to put myself in any kind of a box as far as my sound goes, because being an artist is fluid. If you look at a painter's work, a lot of times, it's similar in style, but other times - over even a year's period - it can change so much. I'm just going with the flow.

For me, what matters is who are you working with, what you are working on, and when all that fits naturally, I let it go. Then, I don't care if it is bold or if it needs me to be uninhibited. I just want the role that I am playing to come out the way it should.

When I wrote 'Grand Illusion,' I was making it up as we went along. I wrote this stuff and tried to do the best job I could.

You know, we never really know what we're going to write next. Which is part of the excitement when we go in and do a new album. No battle plan, we just go in and do it and what comes out, comes out.

I try not to think too hard about music. I like to see where it goes. I try not to give it a direction. I figure out what it is as it's forming. I don't have any goal in mind other than to make the best music I can.

I like to leave things open, and even when I write out the story ahead of time, it always changes. I don't think I would finish anything if I was sticking to a plan that was very rigid.

I think half the point of painting a picture is that you don't know what will happen... that if painters did know what was going to happen they wouldn't bother to do it.

If I crave a frequency in the mid, I'll just drag in a sound and try to mold it into what feels right. It happens very quickly. And if I've been making a piece of music for five hours and it sucks, I'll just throw it away.

Artists of all disciplines must be willing to go into the dark, let go control, be surprised.