I don't want to be entertained. I don't want visuals or musicals. I don't want a vacation. I don't want to quit. I don't want sympathy. The cry of my heart is 'Just Give Me Jesus.'
When you make a movie, you know you're making a long-form thing, so the visuals are different than for a video where it has to be more obvious or in your face, I think, a little bit.
I'm sort of like Jean-Paul Goude, the graphic designer who used to style Grace Jones and shoot all her visuals, just meaning that I use all mediums in one - music, fashion, and art. I'm hitting it from all angles.
A lot of rappers been putting out a lot of sub-par visuals. I feel like the visuals could be better.
My interest in filmmaking was always very much the visuals and images.
As much as I love creating entertaining visuals, I love toying with the pace of a movie and trying to perfect that. It's imperative to the impact: faster cuts, cuts at the right moments that meld with the tenor of a scene. Creating and maintaining that feeling.
I just like pictures and visuals and stuff.
I want everything to build and create a massive artwork composed of different songs, colors, physical art and visuals.
'Zabriskie Point' was a time when I was in a lot of change and flux, and these incredible visuals hit me like they had rearranged the organs in my body. The ending and the free-floating debris and everything is an image that burned itself in my consciousness.
In the same way that musicians inspire me, artists and photographers like David LaChapelle influence me with their visuals. A photographer like LaChapelle creates an entirely new and unique visual for their work, and that's what I'd like to do with the Charli XCX world as well.
