Influential Work Quotes

My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.

When I was offered to sing 'Tere Bina' in 'Guru' by A. R. Rahman sir, it was a surreal experience. The song clicked, and many composers took notice of me and my work then.

The reason 'Fireball' is my favorite album of that period is that without 'Fireball,' we would never have been able to make 'Machine Head.'

I know how important '36 Chambers' is, and it inspired me to record 'Lifted.'

Just to know that someone who's 15 years old is listening to my music and the work that I've done - it's definitely a blessing.

I think that there are quite a few acts which have stayed with the basic feelings and that's good. And I see something of a swing back to that. For example there are quite a few people copying my early stuff now. Like it's become a reference point or something.

I would be thrilled with anybody who cites my work as something that inspired them.

Jane Jacobs work wouldnt have been complete if it hadn't inspired others to carry it on, and evolve Jane's groundbreaking accomplishments so that the essential kernel of thought remains relevant for future generations. The essayists in What We See have built on those essential footholds that people who have never heard of Jane Jacobs will benefit from for decades.

'Rent' was one of the main defining moments, and it was like the precipice of my transition.

I mean, 'Kids In The Hall' is the reason I have any career at all.

It's fun to see how other artists adapt my work.

In my whole life, I've had maybe 10 people who have told me how much my music means to them.

For me N.M.E. was a very big thing. When I first came to the United Kingdom I started taking pictures for them and I became their main photographer for five years, and that's really been the basis of everything I've been doing since.

It's exciting to think that something I'm involved in is touching so many people in so many cultures.

The first time I really had an influence on a show was during 'Ragtime.' It's still the most magical show that I've ever done.

That's the kind of work I like to do: challenging work that has a message.

Through that, I got to know Jerry's work, and I am definitely his number-one fan right now, which is interesting because it usually works the other way around: you usually create a project based on your hero.

One of the other things that I love about Miyazaki's films, is that when he sets a film in Europe, it's not a documentary - it doesn't really look like Europe, but it's something he internalises, synthesises and weaves into his work. I love seeing that cross-cultural exchange.

Keynes was a very good economist. He was brilliant. He had wonderful insights. His work has inspired me many times.

I had seen "Force Majeure" and I just love that movie so much. And I really wanted to artistically give a little hello to the filmmakers, and that kind of back and forth dialogue between artists that say, "I loved your movie. I was influenced by your movie. If I didn't have this job, I wouldn't be thinking of that. Do my TV show and then one day I'll make a movie where I can play with some of the visual themes in "Force Majeure."

I follow the work of my contemporaries. I love their work.

It is very difficult for a writer of my generation, if he is honest, to pretend indifference to the work of Somerset Maugham. He was always so entirely there.

Gerald's Game' had such an impact on me when I read the book in college that I think I've actually, consciously or unconsciously, been incorporating elements of that story into my work ever since.

Somebody said that my work might be an interesting source of material.

'Cabaret' was one of the first pieces of musical theater I saw that showed the possibilities of what musical theater can do.