The really important kind of freedom involves...being able truly to care about other people...
David FosterRead
I am uncompromising to the point of huge dissension in the studio. And it's served me very well. My theory and my philosophy is, 'Compromise breeds mediocrity.' Obviously, you have to pick your battles, and the more success an artist has, the more they want to be involved in their own career, which is not necessarily a good thing.
Interpretation
Staying true to one's vision is essential for artistic integrity, but it can lead to conflict.
David Foster suggests that a strong commitment to one's artistic beliefs and visions, even when it leads to disagreements, is crucial for maintaining quality and originality in art. He warns, however, that while artists should remain dedicated to their craft, they must also be cautious as increased success can complicate their involvement in creative decisions.
In practice
In an artist's talk, to highlight the importance of staying true to one's vision.
The really important kind of freedom involves...being able truly to care about other people...
Don't be too precious about your craft... there's only 26 letters and 12 notes, and Shakespeare and Beethoven said it all better than any of us ever will
CPR to those elements of what’s human and magical that still live and glow despite the times’ darkness.
We all suffer alone in the real world; true empathy's impossible.
Gentlemen, welcome to the world of reality – there is no audience. No one to applaud, to admire. No one to see you. Do you understand? Here is the truth – actual heroism receives no ovation, entertains no one. No one queues up to see it. No one is interested.
This is what the real, no bullshit value of your liberal arts education is supposed to be about: how to keep from going through your comfortable, prosperous, respectable adult life dead, unconscious, a slave to your head and to your natural default setting of being uniquely, completely, imperially alone day in and day out.
All you have to do is play one note. But it needs to be the right note.
A lot of children don't have a developed aesthetic. I did. I made early choices in life, even about cloth; I liked flannel and not polyester.
When I write plays, I'm already seeing the shapes on stage, of the actors and their interaction, and so on and so forth. I don't think I've ever written one play as an abstract piece, as a literary piece, floating in the air somewhere, to be flushed out later on.
You want to be a bit compulsive in your art or craft or whatever you do.
One of my big fears is people saying my songs are all starting to sound the same.
But once you've made a song and you put it out there, you don't own it anymore. The public own it. It's their song. It might be their song that they wake up to, or their song they have a shower to, or their song that they drive home to or their song they cry to, scream to, have babies to, have weddings to - like, it isn't your song anymore.
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