Quotes About Creative

I like to work. I enjoy once a year, doing a film.

I'm writing books. They're still a mix of fact and fiction and will continue to be. I think it's an interesting place to work.

But I think it's quite clear in my work that my orientation isn't political or doesn't come out of modern politics.

I really like to work with theater actors. Theater actors tend to do lots of independent movies, and those are the actors that I like.

I really wanted to work in the American industry because it's the leading industry. It's where film and television started.

If the reader enters a kind of immersive experience reading a book, then I have to enter a kind of immersive state to do my best work.

When I'm blogging, I think book writing is easier and vice versa. Writing is lonely work, and the good thing about blogging is that you have immediate feedback from commenters.

I'm always looking for ways that I can work from home with my home studio and stay busy. This is a great way to do it. Having a home studio has made projects like this a lot easier.

I haven't seen a lot of young producers who work the floor in a traditional way.

I think my own strengths are in television production.

This is the great thing about TV is that when you discover certain strengths in an actor, you can then begin to exploit them in really fun ways.

It's just a challenge doing live television every week; you know, it's a challenge to come up with new material every week and stuff like that and try to keep it current, you know what I mean? Like, it's just, you know, it's a kind of a stressful environment.

It's such an enormously challenging process to make any kind of television. It's stressful and works towards getting the best out of creative people.

I work in both very strict conditions and very loose, more open-minded conditions in advertising, and Nike is by far the most open-minded of all.

When I'm playing with the band or playing with some projects or some of my own stuff it's about the musical approach. That would be the more turntablist approach to things of where it's strictly about music.

I try to get the hip-hop aesthetic, most times without an MC. I don't use a rapper or a DJ to give it the hip-hop style; it's strictly the band that makes that music, which is a lot harder to do.

When I'm in the studio, I'm strictly thinking about the beats, the rhymes and the song. The decision I make once the songs are created, and there's a barcode put on the package, and I'm out there in the street selling it, those decisions as a businessman are different than the creative decisions you make.

I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.

The only reason I would write a sequel is if I were struck by an idea that I felt to be equal to the original. Too many sequels diminish the original.

I made physical objects because I know how to do something on the computer. That struck a chord with me: Most women of my generation have grown up with technology but lack the handmade creative skills of former generations. This is a big opportunity to fill that gap.

I actually think I'm probably more interested in structure than most people who write screenplays, because I think about it.

Every time I got 'Amazing Spider-Man' or 'Fantastic Four' or another book firmly on the rails, we got pulled into some big event book or crossover and it cost momentum and messed badly with the pacing and structure of the book.

In looking at Hollywood and its structure, the director controls the medium, and I want to be in control of certain things. I want to be able to get my own ideas and my own feelings out there, and the only way to do that is to be behind the camera.

I don't plot with huge detail, just big moments and important elements, and then I have a structure but can fly by the seat of my pants when I write.