Quotes About Creative

I am a bit of a dynamic personality and have the ability to use my vocabulary in some creative ways.

While you're testing out armatures of puppets, you're also trying to find the proper visual vocabulary for the character and to come up with a guidebook of sorts for how a character will move and act.

Berklee played a huge role in shaping my music. On an academic level, I learned a lot about vocal technique and culture. Since my major was Music Production and Engineering, I got a good handle on the technical and creative aspects of making a record.

Making vocal hooks is my favorite thing to do. That's what I love about songwriting - making catchy stuff.

We always try to make every song we do sound like a track. It's vocal, but we want it to be really full so no one really can even know if it's a cappella. It's not like it's missing anything, per se.

Richie Kotzen is such an unbelievable talent as a vocalist, guitarist, and songwriter.

My whole goal in this industry nowadays is to keep doing the underground stuff, but to be able to add vocals that are sexy and underground.

If I improvise vocals at an early stage of the song, I just kind of listen to the roll, and then I kind of have a little vocal hook.

I don't try to make one thing. I really try to experiment, even if its just the vocals or the beat. I can't really describe my sound.

As much as my primary vocation is that of an actor, if anything, I feel like I am more excited about filmmaking in general, so it's not always a specific role that I'm attracted to, but rather an entire piece that I want to be a part of.

By the time I came to the States, I really understood how a magazine works. I came to 'Vogue' as creative director, and three years later I went back to London to be editor in chief of British 'Vogue.'

You simply cannot do a sitcom by committee. It will not work. You've got to have one or two clean, creative voices in charge, and there's got to be some faith by the studio and network in those people to make the right choices.

'Cloud' and 'Flower' are very much egocentric about my own expression. 'Flow' is more utilitarian, and 'Journey' is more about collaboration between various creative voices in the team.

I don't use conventional voices for my compositions.

The Internet has allowed a lot of access - people feel entitled to change the ending of games, for example. So there are a lot more voices coming at you all the time, which I think has its effect on creative decision making and possibly makes people more afraid to take risks.

I play a lot of nerdy voices.

Ben Wheatley continues to be one of the most original voices in contemporary film.

If I had a story idea that I felt would work best in three volumes I might write a trilogy eventually. I'd very likely write it all at once, though, so I could work on it as a whole and not broken into individual volumes.

If I had a story idea that I felt would work best in three volumes I might write a trilogy eventually. I'd very likely write it all at once, though, so I could work on it as a whole and not broken into individual volumes. I don't always write in order, so composing multi-book stories could get complicated.

I am very spontaneous when I write; it kind of just comes out. I never think about what I'm going to write about first... it just sort of comes out like word vomit.

I'm definitely seeking to challenge tropes.

Maybe I'm too selfish to just be a producer. Also, I feel like I have something to say that's interesting or unique.

It's a secret club, people that have a certain sense of humor, and it doesn't matter whether it's a romantic situation or a creative one.

I get sent horror scripts every week and most of them are putrid. A lot of people think it's an easy medium but it's not. Not if you want to make ones that last.