Quotes About Innovation

I try to take elements from all kinds of music. Even if I'm listening to anything off the wall, like Britney Spears, there might be a certain way someone did something, that I can feel, in some hip-hop flavor.

Everything, at first, is an idea, a special creation.

There was this cereal, and it had a special promotion with a CD inside the box that had a really simple music-making program on it. I got it, and that opened my mind to being able to make music on a computer and seeing all the different layers.

Every song, every form of art, clothing, shoes, it has to be special.

I have multiple lines and am licensing multiple projects, but I am still hands-on. It feels special. I don't take it for granted.

With guitar riffs, we always look for something that 's a little bit special. We've always found that it is harder to come up with something that's nice and simple without getting something that's hard but easy.

We believe that creating a 'Mario' game is a special endeavor.

I wanted to be a female like Chyna, who broke boundaries and did things that were really special.

I get a lot of demos sent my way, and I listen to them, and sometimes they just have something very special.

Anyone who looked at something special, in a very original way, makes you see it that way forever.

There's nothing more invigorating than being deeply involved with a small company and a young team of founders out to do something incredibly special.

I went to the library - and this was before the Internet - and I searched for a career that was creative, would not fall into a routine, involved problem solving and making things. It also had to be dynamic. I came up with special effects.

Whether it's the experiments on 'MythBusters' or my earlier work in special effects for movies, I've regularly had to do things that were never done before, from designing complex motion-control rigs to figuring out how to animate chocolate.

I like doing as many special effects in camera, as much as possible.

I had no special effects, no monsters running around, nothing blew up; those things are all things I've done so many times that they lose their allure after a while.

I knew that, when writing a book, you're not constrained by a budget. You're not constrained by what you can do, in terms of the special effects technology. You're not limited to any particular running time.

I loved literary science fiction. In fact, as a kid, when I was reading science fiction, I thought 'I can't wait for the future when the special effects are good' to represent what was in these books by Arthur C. Clarke, Alfred Bester, Philip K. Dick, J.G. Ballard, Jack Vance.

I'm of a generation of director that came up understanding special effects.

Special effects are becoming more and more affordable and looking more and more like the real thing.

When I started Battle Bots in 1999, the guy sitting next to me was a high school teacher with no robotics experience at all. There were special effects guys, engineers, software guys who just wrote code - all kinds of people who had a desire to build something. And they would do it in their garages or even their kitchens.

You have these big $200 and $300 million movies with special effects, and I've always thought, 'Gee, why don't we make 30 movies instead of one $300 million movie?' Let's shake it up a bit; wouldn't that be a better bet? Evidently not.

Stuart was a very special person and he was miles ahead of everybody. You know as far as intelligent and artistic feelings are concerned, he was miles ahead. So I learned a lot from him and because in the '60s we had a very strange attitude towards being young, towards sex, towards everything.

France has always had a special place for Apple. This is the best place to discover and chat with all musicians, graphic designers, designers, or photographers who use our products. There is such creative energy.

None of the great discoveries was made by a 'specialist' or a 'researcher'.