Quotes About Expression

Music can name the unnameable and communicate the unknowable.

Artists are those people who sit at the intersection between the known and unknown, the rational and irrational, coming to terms with some of the confusing histories we, as artists, deal with.

I'd like to actually work with a lot of other people, and whether it's someone who is completely unknown who I love and think is a talent, maybe I'll work with them, or, like, maybe I'll work with some of the biggest pop stars and write music for them.

To me, music is that which connects human hearts. It is something that takes you to unknown levels.

I really think the mind of someone who hasn't been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I'd like to do a big picture with an unknown director.

I think that music opens portals and doorways into unknown sectors that it takes courage to leap into. I always think that there's a potential that we all have, and we can emerge, rise up to this potential, when necessary. We have to be fearless, courageous, and draw upon wisdom that we think we don't have.

To me, music is more like a spiritual seeking that takes one to unknown levels.

If you look at the story of 'The Get Down,' it's the story of young people, unknowns thrown together by their resources, trying to create something.

I think there's all these unknown things you can tap into when you just leave things open, and nothing is forbidden. Then you allow yourself to mold that thing that has been created by freedom and spontaneity and flexibility. That's why I avoid limiting performances of actors and characters.

I consider creativity to be a more non-rational, subconscious thing. You have a relationship to your creativity - you can feed it with content, with some rational prodding and sleep and things like that, but the mechanisms by which your creativity work are largely unknown.

Design is an unknown.

I really like working with unique and unknown artists, as they usually bring something fresh to a song.

If you're well-known, you're at the risk of becoming your own character. When you're alone, as a writer, you have to be unknown, putting it all on the paper.

We're living in a tremendously new landscape, and the possibility of what can be created is immense. These tools of the moving image have a relatively short history in art, and what we can do with them is still largely unknown. We are still innovating and finding ways to tell stories.

I think if you want to make a performance authentic, there are a certain amount of leaps of faith into the unknown that you have to take. Otherwise, you're not really risking anything. I think if you don't risk something in art, it's not really important.

I think everything's experimental whether you like it or not. I think that people who do generic pop are experimenting with cliches. It's no less than I am experimenting with noise or unknown music - until you say, 'This is my song, or this is my composition' - it's all experimental, whether you like it or not.

Sometimes people have this notion that improvisation is simply intuitive leaping into the unknown.

The transition from unknown to known-in-publishing has been empowering but also challenging. It's an honor to know that people actually want to know what I think about certain issues, but I also have to be careful about what I say or, rather, how I say it. The Internet is forever, y'all.

You should do what you enjoy doing, what brings you passion. As kids, we spontaneously sing and dance and tell stories, and along the way, someone comes and says, 'No. You shouldn't be doing that.' And we slowly begin to unlearn our passions. I think you have to hold on to those things.

Most of my life, I've been on a film set. There isn't anything to learn, not learn, unlearn. It's just in me.

As kids, we spontaneously sing and dance and tell stories, and along the way, someone comes and says, 'No. You shouldn't be doing that.' And we slowly begin to unlearn our passions. I think you have to hold on to those things.

I like to play characters that have an inner confidence about them that maybe you wouldn't expect them to have and that they aren't afraid to unleash occasionally.

Through music I either tame my demons or unleash them and allow them to be what they are. I don't want the music to be about provocation, I want the music to bring you to a place where you feel at home.

As authors, we know that it is very difficult to unleash one's creativity.