Quotes About Creative

I've done entire scores for I don't know how many films and series. I never kept track; I suppose it's up in the hundreds.

When I looked at him I could see all the delegates sitting there between his ribs and the chief speaker rising and saying, "Freedom is of importance to creative writers." It was very uncanny at breakfast.

We've pitched and even begun development on a number of fantasy worlds that have never seen the light of day. All of those worlds... It's soul-crushing to see them sputter out, one by one. Lost. Like tears. In rain.

Man is a spiritual intelligence, who has taken flesh with the object of gaining experience in worlds below the spiritual, in order that he may be able to master and to rule them, and in later ages take his place in the creative and directing hierarchies of the universe.

I'm grateful to the creative allies behind 'UnReal' who are willing to stand behind disenfranchised communities of people worldwide and help to tell their stories.

I am not worried about people's expectations. I just want to get the film right.

At first, when 'Boxer' came out, people were a little let down, and we worried that it might be the end for us. But then it began to grow on people. 'Boxer' bought us our creative freedom.

It's nice to stay up nights worrying about the material, and not about the investors who gave you $10 million to do your musical.

Instead of worrying about potential disruption, brands can be creative societal disruptors - because their consumers will be right there by their side as committed partners in a better life.

I love California. It has such a strong contribution to the history of culture, and popular culture. For better and worse, of course. Even the worst can be interesting to some degree sometimes for somebody creative.

The worst thing you can do as a comedy director is be on set and think of something ridiculous, or an actor comes up to you with something ridiculous, and you say 'No, no that's too much.' Let's not worry if that's too much, let's shoot it, and then decide if that's too much when we see it.

When it comes to marketing, creative resources are often worth far more than dollars.

The trick of making movies in this culture is how to not give up everything that makes them worthwhile in order to get them made - and that's a tricky balance.

I've made a career of being a contrarian. If I'm going to work with Tom Cruise, it's my instinct to be like, 'Well, I'm going to do the anti-Tom Cruise movie.'

I don't want to discount the nWo stuff because that was huge, and I'm so grateful to be a part of it. And I'm grateful that Eric Bischoff gave me that opportunity. And I had a ton of fun there. But it was nothing compared to the fun and creative satisfaction and just to be part of something amazing that I got from that whole DX experience.

From a gameplay standpoint, I've said for years that hero, fiction, and tone have nothing to do with the idea that choices have consequences. And that's really what I'm interested in. I care about you showing how clever and creative you are.

For characters where, in a comic, I'd avoid using screen tone because it's such a bother, I'd deliberately use it in animation in order to highlight their individual characteristics.

As producers, we can influence where the budget goes, but only the director really controls what tone, what type of movie you are trying to make.

From 'The Money Store,' 'I've Seen Footage' seems to run the beats from Tone Loc's 'Wild Thing' and Salt-n-Pepa's 'Push It' through a rusty meat grinder.

I do tons of feminine things.

I have too much work as a composer to concentrate on singing.

I could Photoshop for hours. I spend way too much time making thumbnails. I spend, like, two hours on my thumbnails sometimes just because it's, like, fun.

The whole cast and creative team were definitely aware of the 'This is the death of Broadway!' kind of thing about 'SpongeBob,' but we've been really ready to change people's minds. I'm really proud of being part of something that took the most creative route to a commercial entity.

I went into academia thinking that there'd be constant reciprocity between my scholarship and my creative work but found that doing one always turned my mind into the sort of tool that was badly suited to doing the other.