You always want to see people who are just like a little outside of the box. Maybe making mistakes sometimes. Not taking something that's straight off the runway, but mixing and matching things. Old and new.
I like that there's very little mystery in how the artwork is actually made. It's the labor and the focus and the precision that drives it to the next level.
For me probably the best moment is before I get started in the morning. I get up and I ride my bike before I come into the studio, so there's a lot of peace and quiet right before the day starts and my assistants get here.
I soon realized that I didn't have a great passion for academia and I didn't like sitting in front of the computer all day. I would much prefer to be a carpenter.
I think that I the biggest thing that I need is more creative time. More time to make mistakes.
The biggest problem that I see that young artists have is they aren't willing to fail. And unless you fail a lot, I think it's difficult to find a voice that shouts above the crowds.
I have very simple tastes really. I like to ride my bicycle and I like to spend time upstate where it's quiet and I can take time to think and dream about new projects and possibilities.
You can tell when women have a sensibility about, or a sense of bravery or a sense of understanding about their personal style that's outside of what you see from a magazine.
Opera is something you have to educate yourself about. You have to make sure you understand the stories, what was happening politically, socially during the time these things were made and how they've changed through history.
While I've lived in cities for most of my adult life, I really prefer the quiet, boring, mundanity of the country. It's the best place for me to work, think, and invent.
As americans I think it's harder for us to have a relationship with opera because the access to it is so limited.
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