Jason Silva Quotes
As a media artist and filmmaker, I'm constantly considering the role of situational context when creating my work.
Quotes to Explore
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My mother has been a wonderful model for the professional woman - a loving mother dedicated to both her family and her work. She inspired me, made me proud, and developed in me an enormous respect for women in general.
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Because I'm so hands on here at work and always looking at fabrics you have to be mobile and as comfortable as possible.
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I call myself a feminist, not a feminist filmmaker. If somebody asked me if I had a feminist sensibility it would be pretty hard to deny, but is it the theme of my work? Not necessarily. I'm interested in a lot of things.
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When I hit my 20s, I took a chill pill and relaxed because throughout my teens I was churning out an album a year. It was a treadmill of work then recording, promoting and touring.
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There's a set of rules out there somewhere that says it all ends by 40. I hope to be able to defy that because I truly love my work.
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In the 1970s and 1980s, I got to do some great work. The Oscars are really nice, but the best part is that I had the opportunity to do that kind of work.
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I think I don't sing as hard as I used to sing. I used to kind of hit the accelerator a lot back in my youth, but now it's just being able to control it, and not work it so hard and use more of an emotional or sub textual kind of approach to singing.
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However careful a tramp may be to avoid places where there is abundant work, he cannot always succeed.
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I want to work with different people, and I would like to work in different places.
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Freedom has a price. Most people aren't willing to pay it.
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I think great artists have no time to waste with having disproportionate egos and irrational requests. They're too focused on their work to actually lose themselves in hysterical spirals where they become monsters or tyrants.
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As we take our places in the General Assembly and at the Council meetings, let us begin all our work in the name of God, for the solution of all our problems is a spiritual one.
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I'm quite adept at writing two or sometimes even three stories at once. So if I get stuck on one story, I switch the next and let my subconscious work on unraveling any plot problems from another story.
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I simply seem to drift. But I sort of allow the drift, because it has a kind of check – it forces me to work harder at what I'm interested in.
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I would really love to work with Clint Eastwood.
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When people recognize your work and want to reward you for what you've done, that's a good feeling.
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When you really work hard for something that you genuinely and truly love, and you don't want it to fail, it's a good feeling to see it do good.
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If you work hard in real life, people tend to get in your way - either from inertia or prejudice - and they stop you achieving things. It's the worst thing about real life compared with sports, where you generally get what you deserve: if you're the fastest guy, you win; there are no other games being played.
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My work is drawn to the political but avoids an agenda. There is no inherent critique or support.
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As artists, we do the work that we do. Receiving an award or not receiving an award in no way diminishes one's talent or value.
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New York is a brutally expensive place to live, and the kind of person who might have the dedication and esoteric taste to make the comics that I would really love is finding it more relaxing to live elsewhere.
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Great theater continues to bind us, one to the other, and most of us will travel far and wide to see a good story told well.
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I'm always interested in projects. Whatever I do, I'm interested in the color of the material. I'm not interested in who's making it. I'm more concentrated on the work.
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As a media artist and filmmaker, I'm constantly considering the role of situational context when creating my work.
