Quotes About Creative

Working with and collaborating with and for Peter Jackson was an incredible experience because he is such a phenomenal filmmaker.

In Belgium, we know the U.S. culture through the television, but it's not the truth. It's interesting to see that Philadelphia is really industrial. I love industrial cities. Everybody hates them, but I think they're the best places to be creative. The more gritty it is, the more I love it.

The universe, in a big bang mode, is still expanding, which means it's cooling down, and evolution seems to be going against this; we're almost battling it. That led me on to a more creative, philosophical way of thinking, which is what led into influencing some of the songs, which is, maybe this is what our struggle is.

My least favorite thing about being in a band is photo shoots and video shoots. I like writing songs.

My father, an architectural photographer, was an incurable tinkerer, maker and mender.

I moved to New York and went to art school at Parsons School of Design. Became a photographer. Became a creative consultant.

I had a background in theater as an actor, and then a photographer, and then as an experimental filmmaker and editor.

I've done a lot of commercial work. I'm the complete photographer.

Editorial photography has to be energetic and visually competitive.

I was really nervous working with actors, since I come from a photography background.

'Brown Girl Dreaming' was a book I had a lot of doubts about - mainly, would this story be meaningful to anyone besides me? My editor, Nancy Paulsen, kept assuring me, but there were moments when I was in a really sad place with the story for so many reasons. It wasn't an easy book to write - emotionally, physically, or creatively.

I got picked for very unique and independent filmmaking experiences with auteurs. And I'm so lucky.

Indie music is picking up and artistes are more confident about putting out music with no big name attached to it.

I haven't done many commercials, and I'm very picky about it because it comes down to creative control.

When I came out to Hollywood, I discovered the perfect place for my creative madness - Cannon Pictures.

We're focused on growing the pie so the artists can go back to making a meaningful amount of money.

I worked with some directors, and it was really collaborative, and I was sort of writing with them. I was giving so many pieces of myself to their movies, I thought, 'It's about time I use my own voice for me, and establish my own voice.' So I knew I wanted to make films.

I look to a lot of artists who don't focus on one medium, who you can't pigeonhole.

I wouldn't want to be just pigeonholed as an extravagant director.

When you're doing a pilot, you're doing it in this bubble that almost works against the creative impulse. You don't have time to get to know the actors first, and you have three writers, as opposed to a room full of writers.

I write screenplays that don't get made and pilots that don't get picked up, and I re-write other people's movies, and those are all different kinds of fees.

I would say it's not as hard as writing, because when you're a writer, you walk right into the pit all by yourself, but when you're a director, there are at least 80 people who scream, 'Don't do that!' when you make a mistake.

In religions which have lost their creative spark, the gods eventually become no more than poetic motifs or ornaments for decorating human solitude and walls.

I wrote and directed a movie called 'Two-Bit Waltz.'