Tim Rice Quotes

Indeed, an engineer designing a structure is not unlike an artist painting one. Both start with nothing but talent, experience, and inspiration. The fresh piece of paper on the drawing board is as blank as the newly stretched piece of canvas.

I'm interested in good collaborations and in working with directors who bring something new and interesting out of you.

I always try hard to arrange all media in a way so that it expresses what I want - this is not limited to one medium alone and varies from case to case.

I'm always in awe of people who are artists in their fields - people who understand that simply by taking ideas and translating them into reality, they've created value in the world.

He lives with his creativity in high gear.

The scientist and the artist are both passionate about their exploration. What leads to my work is that I'm equally an artist and an engineer.

I know what I want, and I know what needs to be done to make my performance better. So I do these little askings, about the lights and costumes. It's not the diva speaking. It's the artist who knows how it has to be done.

Conception, my boy, fundamental brain work, is what makes all the difference in art.

I'm interested in creating new work.

But, I love making independent films. I love it! You create a family, and you sweat, you bleed, you cry, you shout, you laugh and you hug. It's such an extraordinary experience, making independent films.

If the audience knew what they wanted then they wouldn't be the audience, they would be the artist.

I always conceive a piece as a different set of challenges.

When you make new musicals, you have the great freedom and the great burden that it can be changed.

You need these experiences. Just know that sometimes, the director has a specific look in mind.

The imagination imitates. It is the critical spirit that creates.

I've worked with people who wanted to be creative every day: it was like a goal to arrive with something very special. Sometimes it's just disturbing, because special is good when it's needed. But when it's not needed, it's confusing, and you go away from the authenticity by a strong desire to be unique and singular.

Movies require so many moving pieces to align that it really is a miracle that anything is made!

I realized that filmmaking is an eminently scalable act. No matter how big or how small, there's joys and stresses that will all scale themselves magnificently to fit the production.

My creative is for the world.

Paintings don't just happen. I am not a proponent of the idea of an artist as someone who kind of magically makes things and has no real control or isn't willfully producing a certain kind of thing. It is labor-intensive, and it is research-intensive. You are making one decision after another, trying to get at something you think is important.

We go into the studio with the mindset of simply wanting to make something great.

It is the director's vision, and as actors, we are just extensions of that.

I know it's hard for people to imagine a time when 'Hamilton' wasn't 'Hamilton,' but for years, it was just this little thing that I was telling people about that didn't make any sense to anybody as I was describing it. But I loved it.

Every day the Daniels [Kwan and Scheinert] would come up with some amazing solution and [make it easy] to put yourself in their hands. There's something really lovely about knowing you're working with directors who know exactly what they want and exactly what they're looking for, and they're not going to move on until they have it. That, as an actor, frees you up a lot because you can [try different approaches] and they'll only use what's appropriate.

Creative work is incredibly difficult, and that is where the tests lie. Ordinary professionalism and twenty years' experience can accomplish a lot, but it can't access the hidden places. That still needs what it always needs - a condition of complete simplicity, costing not less than everything.