Quotes About Originality

It would not occur to me to write a joke like, 'This would be great if I was more like Andrew Dice Clay.' It's not the voice I write in - which is largely an extension of the voice in my head that I think in.

I always find beauty in things that are odd and imperfect - they are much more interesting.

I know, being the odd one out can feel brutal. But, rest assured, it's also wonderful - because your desire to do things differently isn't 'uncool.' In fact, it's the exact opposite.

I like being the odd one out in L.A. Because if you conform, you become something you hate. I love being the odd one out. It's not about 'Look at me! Look at me!' It's about really becoming someone else.

My life as an author has always been about brilliant, odd people.

I think trying to be offbeat is the most boring thing possible.

You can only make the best thing you can make, and if it offends purists, or angers certain critics, you can only have done your best.

My whole life, I was thinking of names for kids, and I had a couple of kind of different names. I just didn't want him to be one of the crowd, with a - no offense to people with these names, but I don't want him to be a Bob, Dave, Harry, Larry.

I will offer a choice, not an echo.

I have nothing revolutionary or even novel to offer.

'The House Of Tomorrow' offered such a fantastic script. I couldn't believe that script - it was just so original and unique.

My greatest offering is my concept. It isn't my face.

My style Offset. Straight up Offset. Ain't nobody like me. It's who I am.

Kevin's mind goes to extremely interesting places. Every time we get a script, I go, 'Oh my God, I really didn't see that coming'.

I just feel like bands with the same people, no matter how different the band themselves thinks it is, the listeners go, 'Oh, yeah, it's another Nirvana record.'

Let's just cut a live record with three microphones in four days and talk about lizards and aliens. If I had taken that idea to even an independent label, I don't see a label out there that would've said, 'Oh yeah, that sounds great. We know how to market this.'

If you write an original, it's like you went in and dug a well, and you hit oil. But an adaptation, it's like the oil well's on fire, and they bring you in to put the fire out and get it working again - or something like that.

I'm not interested in doing something edgy with a capital E just so everyone knows, 'Oh, OK, now he's showing us he can do edgy.'

When I sit down to write, I don't think, 'OK, what is the next David O. Russell film I can write, or what is Harvey Weinstein going to want to buy?' Or even, 'What are filmgoers going to want.' I try to think, tell a good story. Just do what you do.

I write my songs and just play them, so there are not a whole lot of fireworks. As long as the music comes first, it's OK to have some fireworks. But not the other way around.

Some people are meant to be bigger, and that's okay. Because if everybody was built the same, it would be a little boring. We enjoy the differences in each other, and I think that's what makes all of us beautiful.

To make a successful film from a successful play is probably much more difficult than making one from scratch, just as any carpenter will tell you that it is more difficult to restore an old house than to build a comparable new one.

I just don't want to make the same old movies. I'm not interested in it. Directing's hard. It takes up a lot of your life, and I'm not that interested in making the same old film.

I don't use old music.