Quotes About Creative

I have a background in graphic design and have been designing t-shirt graphics for years.

The mandate I have received and for which I will speak with heart and head to implement over the next seven years had its four pillars - an inclusive citizenship, equality and participation and respect in a creative society creating an excellence in everything we Irish do.

I am definitely a storyteller, but probably not a traditional Storyteller.

I'm not a painter by any stretch of the imagination; I'm a dyed-in-the-wool traditional illustrator, and I begin with black and white. If I need colour, I add it over the top. There's a calligraphic element to it... it's about the texture of lines on the page.

I have a really, really, really normal family. And by normal I mean we're all nuts on some level. I think you've gotta be a little nuts to pursue any kind of creative job. I was also a really good kid. I know that sounds really dull, but I didn't rebel in the traditional sense.

I wanted to come up with a hybrid show of sorts that wasn't your traditional 'dump and stir' type of cooking show.

A lot of the traditional sitcom stuff I did - I think I could have gone that route when I was younger as a staff writer, and I just didn't want to.

Like Love, Art ties together all the great sacred traditions because they all used creative expression, or we wouldn't know about them.

'Downtown Love.' I made that with one of my homies in New Orleans. The story is tragic, and the song is emotional. It's my favorite. I'm most proud of that; it's such a creative piece.

I consider myself fortunate that in my home, acting or the creative arts were a good option. This was a respected tour of duty in my family. Acting wasn't something that was left to tragic bohemians. But we weren't a family that obsessed on cinema.

Look around at the countries of Europe, and you'll find that practically all of them have pasts that are just as tragic as Ireland's, yet the people seem able to find some creative way at moving into the future.

'Mask' wasn't the version that I wanted when it was originally released. It made money, but it would have made a lot more money. My version was a lot less depressing - tragic, but a lot less depressing.

I'm used to pressure. When writing must get done, I work in bed, on a bus, a train.

In film, you get to take your time and make it right. In TV, it's all about the schedule. The train is moving and you sometimes just don't have time to make things right, which is painful 'cause you know it could be done better and you just have no choice.

I feel more comfortable in a place like Brighton - a town, with one centre, one bus station, one train station. And there are so many arty, creative people, and things are less rushed, less stressed.

I think, even when I was little, there was signs that I was an artist. I've always been an artist. My first exploration through art was really through music - I've trained classically with piano for about ten years.

I did this play, 'Expedition 6,' that I worked on for three years in between other things. It was a good, interesting time for me because I trained as a theater director, and I went back, and we toured it around.

My diploma was in film and videography and I then went to a film academy in New York, where I trained in acting as well.

I didn't start writing with band arrangements until I was working on 'Tramp.'

'The Last Pictures' is meant to create a framework to think about the long-term effects of human civilizations and the transformations we've made to the world around us. Having said that, every person in the world would have done the project differently, so in that sense, I guess it bears my creative stamp.

My time at Pop has been a transformative experience that I am extremely proud of. It has afforded me the chance to collaborate with some of the greatest creative minds in the world, and I'm thankful to Ashley Heath and Bauer Media for the opportunity.

The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.

Film and the other creative industries are being transformed by digital technologies.

The exciting thing about doing art for someone else's story is how I can translate their world through pictures, and that's always a pretty big challenge.