Quotes About Originality

I will not programme generic orchestrations but try to find original ones - when I play Richard Rodgers songs, for example, I have Peggy Lee's original orchestrations that I got from her granddaughter for them.

I never want to play a show where it feels overly programmed, processed, and all that. For anybody that comes to one of our shows, the goal for me is to make sure that's their show. That nobody else is going to see that show ever again. You know what I mean? I try to make it different every day.

Everyone is born with it but, unfortunately, our society and culture are programmed to kill creativity.

Everyone is using the same programs, everyone is looking at the same opening ideas. I wouldn't say everyone is necessarily the same in terms of talent or ability, but when you're able to prepare games that go so deep that you don't have to think, really, it balances out the field.

There's a lot of brilliant comics who are amazing, but you can see them doing the same 20 minutes that they were doing five years ago, verbatim. I think that doesn't lend itself to progressing.

Every project has to stand on its own. It's a different identity within each project, and I feel like that's the way it should be.

What really excites me in a project is when it goes in a way you haven't been before.

The best project is one that asks a novel question.

Really, with 'Water Lilies', the project was to end the movie where other movies would begin.

I've worked with a lot of first time directors; in fact, I enjoy it because there is a certain beginner's mind that they bring into a project that isn't loaded with the way things have been done before. There's a certain freedom to it.

When you work for long, you know things about your craft, but how differently you are going to project it so that it can still look new is what I am constantly trying.

Everything can't be a postage-stamp-sized project. Everything can't be a chamber piece. Musicals aren't even meant to be that, or identified with it... It's none of it simple.

I'd have to say that the things that mean the most to me are the examples of original comic art that I'm able to look at every day, most of them either by notable friends and/or for projects that I've worked on.

I look for projects with filmmakers who want to make things that give the audience a fresh experience.

When you are developing something, you have to look at it individually. You can't compare and contrast it to the projects around it, because that way madness lies.

I'm not as incredibly prolific as Louis C. K., and I'm definitely not doing a completely brand-new hour probably by the beginning of the tour.

Don't try to stand out that much for prom. Be yourself.

I was so big, so I had to always come up with my own creations. Like, when I would do junior prom and stuff, I would have stuff specially made or added to my outfit. I definitely was always into trying to do something a little over and beyond.

I feel like being into the beat of your own drum has become too prominent in the culture.

The most promising ideas begin from novelty and then add familiarity.

The first time that somebody handed me a sheet of paper with a promo on it, it was like a 'throw up in your mouth' kind of moment. And it's not, like, their fault, you know? It's not the writers' fault. But if was my world, there would be no written promos; there'd be no scripts.

I'm different from any other designer, businesswise, in that I've built this company up and I own it. I never had business hype behind me to promote my image... My image is real... I have never had marketing people telling me what to do.

I'm not sure that niceness is what we should promote in writers.

Putting out commercial pieces and promoting them and trying to sell them to people is not necessarily what it means to be an artist.