Quotes About Creative

I want to do films that will be remembered, not run-of-the-mill stuff where I stand behind looking pretty as a picture.

I don't think I would have made 'Blank Project; if I hadn't made 'Cherry Thing.' I think that was a real rebirth in a way, and a remembrance of how I like to make music best, the most. Like being in a more chaotic place, maybe. Like a place of making and being creative where the mistakes can be left in.

Writing scripts is fine because you get through a page quickly. But writing words just reminds me of school. To me a novel would be like writing a 300-page essay.

The atmosphere in my house wasn't of the creative kind at all. No one in my family is remotely connected with films.

I think people sometimes have a hard time placing me because I don't fit into a box. When they ask what I do at a cocktail party, I either say I'm a Renaissance woman or I'm a high-level madam. Lately I've been more comfortable saying I'm an artist, because that can cover a lot of different things.

I think 'renaissance woman' is a really fancy way of saying that I'm scatter-brained and non-commital.

I'm a modern-day renaissance man.

I guess I much prefer the path of the contrarian: the guy who goes against the grain a bit. The careers of the people who I admire deeply - like the Coen brothers and Soderbergh - don't repeat themselves, and they make radically different films at times, and I think that's wonderful.

Ford didn't know what to do with Mister Roberts that wasn't repeating what was successful in New York. He was trying to do things to the play that would be his in the film.

These days scripts aren't that repetitive and so the roles are getting more and more challenging.

I've enjoyed my time as an actor, but felt work was becoming repetitive.

We'd all like to be in the business where we don't have to report our numbers, too. You're dealing with a Netflix and an Amazon that don't have to report their viewership. They're not sharing those numbers, so how do you work with a creative entity to renegotiate future seasons when nobody has metrics?

I write and teach creative nonfiction. I was a reporter.

I minored in creative writing in college, and I've played with the idea of doing something more hybrid, but comics are my first love.

My ideal place to be is on set, figuring out how to tell stories and entertain. That's where I'll usually be if you're looking for me.

I'm one of the idiots that negotiates after I write.

I always knew I wanted it to be illustrated.

Last year I think I made more from my Image books than anywhere else.

When working on a period, it is the finer details that evoke imagery that helps in cinematic adaptations.

I like trying to make sounds that are interesting and are a bit weird. I try to make music that captures people's imaginations.

White Lines' is without a doubt one of the best, most imaginative, brilliantly bonkers scripts I've ever had a chance to work on.

'The Man In High Castle' is one of Dick's most imaginative and captivating works, and certainly one of my favorites.

Catherine Hardwicke

What I want to impart on any movie I work on is I want to make it entertaining. That's what I feel I do.