I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
What's good is that my music is different from everyone else's. It's got the soul element, like Duffy, but it's not very retro. It's a contemporary, pop, fresh sound. That's what makes it different.
You have reckoned that history ought to judge the past and to instruct the contemporary world as to the future. The present attempt does not yield to that high office. It will merely tell how it really was.
You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see.
I don't think my looks are modern. I always imagined I'd end up doing Chekhov, Ibsen and Shakespeare all my life and never play a contemporary character.
Artists - musicians, painters, writers, poets - always seem to have had the most accurate perception of what is really going on around them, not the official version or the popular perception of contemporary life.
I'm a dancer, so I do four hours of dance a week of ballet, jazz, hip hop, contemporary. I also play the piano and I just started learning the guitar.
I'd love to do a modern-day musical that's full of original music. To get your contemporaries to sing and dance without looking foolish and for it to be transformational and magical and all those things a musical is supposed to be.
Obviously, I love to do both contemporary and historical fiction. When a hint of a story grabs me, I try to go with it to see where it will take me whatever the setting.
Against the dark background of this contemporary civilization of well-being, even the arts tend to mingle, to lose their identity.
We may play in a contemporary rock vein, use standard bebop themes, and many other things besides.
My stories are full of facts; they have a beginning and an end. For that reason, they will never... occupy a place in contemporary literature.
Christians and Jews alike are the new exiles of the contemporary world, struggling with how to sing the Lord's song in a strange land.
This might be one way to start talking about differences between the early postmodern writers of the fifties and sixties and their contemporary descendants.
I think the main function of contemporary irony is to protect the speaker from being interpreted as naive or sentimental.
Instead of kids just hearing about beads and baskets and fringe, and about what 'was' and 'were,' we present Native American culture as a living contemporary culture.
The '90s are really the 'Sex and the City' woman, and I think, right now, the new contemporary woman is the 'Lipstick Jungle' woman.
Contemporaries appreciate the person rather than their merit, posterity will regard the merit rather than the person.
However, the difficulties and pleasures of the writing itself are similar for a novel with a historical setting and a novel with a contemporary setting, as far as I'm concerned.
But these days, I get a lot more attention and airplay from the Adult Contemporary and country radio stations, and I feel comfortable saying I'm a part of that.
Few contemporary artists mined the space between the ordinary and the strange better than Orozco did.
