Rob Brown Quotes

When I usually go to my studio to work, I start with something that is going to take two minutes just to put some idea down and the next thing I know, ten hours have gone by and my family is screaming at me because they want me to come up to have dinner with them.

The most emotional part is when I go into my studio every day and pretty much never have an idea of what's gonna happen.

Because I'm such a studio guy, I really trust my process. I really believe in myself in the studio.

You know, the only way I've found to make these pictures is with animators. You can't seem to do it with accountants and bookkeepers.

The ideas come afterwards, when the picture is finished.

I repeat it until it works. It is important to record, otherwise you lose ideas. That's why I never stay away from the studio, I always [have] something to ask.

I do more writing by myself than with anybody else. My best thing is sitting...around somewhere with a guitar, and having an idea. You never know where it'd come from. Songwriting is a God-given talent.

I think that there are a lot of great studio people but the fewer voices in my head when I'm getting out a draft, the better. I just get it out and then I'll listen to all manner of good ideas. And that's what happens, too, when I'm touring and doing a character on stage.

The muse whispers to you when she chooses, and you can't tell her to come back later, because you quickly learn in this business that she might not come back at all.

Where do I get my ideas from? You might as well have asked that of Beethoven. He was goofing around in Germany like everybody else, and all of a sudden this stuff came gushing out of him. It was music. I was goofing around like everybody else in Indiana, and all of a sudden stuff came gushing out. It was disgust with civilization.

I've often hesitated in beginning a project because I've thought, 'It'll never turn out to be even remotely like the good idea I have as I start.' I could just 'feel' how good it could be. but I decided that, for the present, I would create the best way I know how and accept the ambiguities.

In the same way, I can wake up with a very positive idea of what I want to do for my collection, and be completely desperate at night regarding the same thing. And I do a lot of other things too: Writing for me is almost as important as drawing my collection.

One day it was that I wanted to go make a movie with my kid and then another day it was that I wanted to climb Mt. Kilimanjaro and another day it was that I wanted to sit in the studio and figure something out. All those things manifested themselves into what the TV show was.

I don't really know where I got my artists idea. The scraps of what I remember do not explain to me where it came from. I only know that by this time it was definitely settled in my mind.

"Where do you get your ideas?" That's the one question I'm genuinely sick of being asked, and also genuinely fascinated by. What fascinates me is not that people ask the question, but what kind of answer are they really looking for? Because if I tell them the truth, which is "I make them up," they seem very disappointed. They want to know about the trek I do once a year to the mountain.

I feel like I have a lot of novel ideas, but they often come up while I'm already in the process of working on a book. You have to watch out with the slutty new idea.

[Mannerism is when] you think you have all these great ideas, and none of them are good at the end of the day. But while you are pursuing those other things subconsciously happen.

This is the other secret that real artists know and wannabe writers don’t. When we sit down each day and do our work, power concentrates around us. The Muse takes note of our dedication. She approves. We have earned favor in her sight. When we sit down and work, we become like a magnetized rod that attracts iron filings. Ideas come. Insights accrete.

I don't really talk about my process very much, because I feel like if I give something away, it might not come back.

One of the factors that still keeps me in the studio is that every so often I have to more or less start all over.

[As an actor] I have ideas, but things should always be fluid. You should always be ready to follow an instinct. Something might reveal itself on the day.

I've never been able to develop a movie over several years, and keep coming back to it and adding to it. I get excited by the spark of an idea, and if I can't go make that, there's another idea that comes along that I get excited about. It has to happen quickly, in order for it to happen, at all.

You ask me where I get my ideas. That I cannot tell you with certainty. They come unsummoned, directly, indirectly - I could seize them with my hands - out in the open air, in the woods, while walking, in the silence of the nights, at dawn, excited by moods which are translated by the poet into words, by me into tones that sound and roar and storm about me till I have set them down in notes.

At 10 o'clock in the morning I'd go right in the studio. It feels good to be there in the morning before the day starts to mess with you - I don't mean in a negative way, but before I'd speak to a lot of people or get into anything, I'd go in there and just see what I felt. A lot happens in the morning for me in the studio.

I do a lot of research, I try to think about how it relates to music and I just do a ton of drawing. It's much easier to work your ideas out that way.