Quotes About Creative

Generally speaking, there's some quality of compulsion that attaches itself to the idea of the list. It's true that lists organise the daily chaos of working life. But the impulse to make lists has to do with something more than either administrative practicalities or the record of a creative process.

Cary and I are working together on another movie, Charlotte's Web.

I realized that being that No. 1 on the call sheet sets the tone. That knowledge, it's important to me that everyone - not just actors, not just myself, but everyone - have a workplace that they enjoy, where they feel respected, that they have creative input, and that they feel is a place that they're excited to go to work.

The prosecution has to go with the evidence and the facts and tell the story as it happened. The defense has more creative freedom. All you have to do is look for a defense that works. But it doesn't have to be the truth. Sometimes you get lucky and it is, but sometimes you don't, and either way, it doesn't matter.

The voice for 'Surly' is, of course, very close to my own voice, but it's informed a lot by this story, by the arc and the animation and working with the whole creative team on 'The Nut Job' in finding what really works.

An amateur is someone who supports himself with outside jobs which enable him to paint. A professional is someone whose wife works to enable him to paint.

As a producer you have creative control, and that's what is so exciting about it. At the end of the day, if you have made a film it's totally your responsibility, and if it works it's your responsibility and if it doesn't it's also your responsibility.

When I first started doing carpets, my stylist and I would pose in the outfit in the mirror, and we decide what pose works with the outfit.

After finishing my undergraduate work at the University of Iowa, where I took creative writing classes taught by Writer's Workshop students, I applied to half a dozen MFA writing programs.

When I went to get my master's in creative writing at San Francisco State after Grinnell, I joined the moribund remnants of the Actor's Workshop, until I saw Kay Hayward and Sandy Archer in the San Francisco Mime Troupe and drove down that day to audition. The rest is history.

I wouldn't just come home from school and watch TV everyday, they had me involved in lots of local theatre. I was a very dramatic, talkative child. And that was part of my mother's creative solution - to put me in workshops and classes and children's theatre programmes.

Mum is a photographer, and Dad does world music and plays almost every instrument except for drums.

Tim Conway was a little different from the rest. He was always in the back of the studio building something with the prop man, rewriting his lines, or plotting our demise.

It was Tim Burton's 'Batman' in, what, '89, I think? What we could see was there was someone behind the curtain controlling all of this, and you could see it from one Tim Burton film to the next, that the guy who made 'Edward Scissorhands' also made 'Batman.' You could connect the dots because his style was so distinct.

Tim also has enough confidence so that it always looks like a Tim Burton film, but it really is collaborative. You're allowed to do it your way but of course he's always going to choose his way.

My favorite movies are from directors that have a vision, like Wes Anderson or Tim Burton.

I've always said time and time again that I hate anything conventional.

Rap isn't that time-consuming for me, compared to an ordinary artist. I do not stay in the studio all day.

I'm no stranger to making timeless music.

So much respect is given to artists who are doing things that seems sort of timeless and legitimate. That kind of legitimacy and timelessness is to me sort of the opposite of what pop music should be.

'Black film,' unless it's lucky enough or creative enough, or timely enough to build a life of its own, hangs subjacent to 'white film' on Hollywood's financial score board... aided and abetted by the supposition that so-called black film has no foreign market.

The early years of Hanna-Barbera were more fun than the later ones. I was working more in the creative areas of timing and direction then. But as the studio grew, I became more involved in administration and got away from the creative aspects.

I'm not really trying to reach a big mass of an audience. My movies are done for a tiny, tiny budget, and that affords me to make them more personal.

My role in 'Legally Blonde' was really rewarding, because I had so much fun working on the movie. I've had really rewarding experiences on tiny low budget films that you'll never see but where I had a cool time creating characters as well. I love almost all of the characters I've played.