You know, Hitler wanted to be an artist. At eighteen he took his inheritance, seven hundred kronen, and moved to Vienna to live and study... Ever see one of his paintings? Neither have I. Resistance beat him. Call it overstatement but I'll say it anyway: it was easier for Hitler to start World War II than it was for him to face a blank square of canvas.
Interpretation
The quote reflects on the struggle of creative endeavor versus the ease of destructive action.
In this thought-provoking statement, Steven Pressfield highlights the irony of Adolf Hitler's aspirations as an artist, contrasting his artistic failure with his success in leading a catastrophic war. The quote suggests that the fear of creative insecurity can be so overwhelming that it might lead one to choose paths that ultimately cause harm rather than confronting the vulnerability inherent in artistic expression.
In practice
This quote can be used in a motivational speech about facing challenges in creative pursuits.
Late at night have you experienced a vision of the person you might become, the work you could accomplish, the realized being you were meant to be? Are you a writer who doesn't write, a painter who doesn't paint, an entrepreneur who never starts a venture? Then you know what Resistance is.
It is one thing to study war and another to live the warrior's life.
The amateur believes he must first overcome his fear; then he can do his work. The professional knows that fear can never be overcome. He knows there is no such thing as a fearless warrior or a dread-free artist.
When we sit down day after day and keep grinding, something mysterious starts to happen... Unseen forces enlist in our cause; serendipity reinforces our purpose.
It’s better to be in the arena, getting stomped by the bull, than to be up in the stands or out in the parking lot.
Rule of thumb: The more important a call or action is to our soul's evolution, the Resistance we will feel toward pursuing it.
The more dollars the studio producers put in, the less freedom we have. If the budget hits $100m, they get scared - they'll take the existing score of a successful movie and expect composers to copy it, like wallpaper. The biggest challenge for any composer in Hollywood is to be as creative as possible within those boundaries.
This industry should behave like a mother whose child has just run out in front of a car. But instead of clasping the child to them, they start punishing the child. Like you don't dare get a cold. How dare you get a cold! I mean, the executives can get colds and stay home forever and phone it in, but how dare you, the actor, get a cold or a virus. You know, no one feels worse than the one who's sick. I sometimes wish, gee, I wish they had to act a comedy with a temperature and a virus infection.
I cook more theoretically than I do practically. My job is creative, and in the kitchen, the biggest part of my creativity is theoretical.
Performing live in front of an audience is such a matter of will - all of those things you can do just fine in your basement, suddenly you have to do them in front of hundreds or thousands of people, and it becomes a different matter entirely.
The experimental poetry thing is not my thing. It's a programme of the avant-garde: basically a refusal of the kind of poetry I write.
As long as my music is real, it's no limit to how many ears I can grab.
Subscribe for the occasional hand-picked quote. No noise.