Aesthetic Quality Quotes

Is it conceivable that mysticism is a mark of inadequate art?

National film industries tend to move in cycles. In Australia right now, we're on a high, a feeling of potential, which as yet shows no sign of flagging. But the word 'industry' is misleading. A small national cinema has no industry in the Hollywood sense.

Whenever a film allows you to think and feel and take it beyond the moment, I think it's achieved something. And 'Funny Games' does that.

There's kind of a cool feel that happens every now and then. I guess that feel is the thing that makes the score its own score. But, I don't know exactly what that is. So, it's hard for me to answer that question.

I hope readers will think that 'The Thing About Life' is beautifully patterned, a tapestry.

All movies are pure process. A commercial movie isn't less process than an art movie. You can't make your decisions about a film on the basis of, 'Is it important enough? Is it serious enough?' It's either alive or it's not for me. If it's alive, I want to do it.

It's a good question, because a movie isn't good or bad based on its politics. It's usually good or bad for other reasons, though you might agree or disagree with its politics.

I'm not interested in artistic records for the sake of making artistic records where they're so cool no one listens to them.

'Reflection' and 'Going Nowhere' would've been great singles because that's the exact sound that we wanted to achieve.

For me, movie-making is more than making a 'hit' film. It's about working with a team of people I really respect and doing something that gives me satisfaction.

There's no making art for art's sake. You've got to make the best art you can.

Texture is very important. Just the feel of everything. It's not always about recording everything in pristine quality and having everything mixed where it's absolutely perfect. It's more about a vibe.

I'm lucky: I've got great photogenic eyes. You're up and running if you've got that and one brain cell to attach it to.

You can make what you want. People care about what the artist has to say, what the sound is, and how it affects them.

I don't want to knock photography, and I don't feel that film is up there but photography isn't. I think they're next to each other really, you know. There's an incredible strength to a still picture. Or there can be an incredible strength to a still picture that can outlive you. That can outlive a film.

Modern technology has taken the angst out of achieving the perfect shot. For me, the only thing that counts is the idea behind the image: what you want to see and what you're trying to say. The idea is crucial. You have to think of something you want to say and expand upon it.

In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.

Photography is a very important part of my life.

It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism.

I wouldn't consciously pursue trying to make something for the charts. It's just not in my scope now. I'd rather stick needles in my eyes.

So many of my paintings, people would be like, 'What more do you have to do?' But the smallest little things make all of the difference.

The film [Dream of Life] is not really an amateur work, despite the fact that none of us have ever done anything like this before; aesthetically, none of us are amateurs.

After all, the work isn't the point; the piece is.

I mean, at the end of the day when I'm making a record, what I want to do is what I do.

When you are making an album, it is about the purpose - you are creating both a concept and vibe, then you follow through with that.