Quotes About Inspiration

I was influenced by big, strong voices - writers like Elizabeth Bowen, Virginia Woolf, Jane Bowles; gay writers like Ed White, Michael Cunningham, Allen Hollinghurst; and contemporary lesbian writers, like Dorothy Allison.

Horns always influenced me more than voices.

While Shakespeare wasn't the first voice in the room, in North America and Europe, he's one of the loudest voices.

Two years after drama school, I had a nervous breakdown: I heard voices, and the voice I heard in my head was Martin Luther King's.

If you haven't heard my music before, 'Spirit Voices' is a great place to start.

The only successful way to write, and the only one I have found, is to be the character. Give up on trying to control them. Writers always talk about hearing voices. That's what they mean.

Growing up, I listened to a lot of everything - I fell in love with music, when I discovered people like Lauryn Hill and Tracy Chapman, people whose voices I could really feel, people with a lot of soul. That's what I'm drawn to as a musician: Anybody that has their own voice and their own point of view.

My dad got into this group, Commission, with Fred Hammond, and that was my biggest gospel memory. I would hear that all the time, and listening to their voices helped me develop my voice because I would try to emulate them as a kid. It taught me tone, and it gave me a balance.

As a professional cellist, I go to mostly classical concerts because that's the music I play, but I am also always trying to find out who the voices of our time are. I attend a spectrum of concerts that are close to classical - anything from Wynton Marsalis to Renee Fleming.

We need more female voices to come out there and do comedy.

When I was growing up... I'm not going to say I listened to everything, but when it comes to vocals, I was really adamant about imitating all kinds of voices.

When I was 15 or so, I made a conscious decision to try and sing with a big voice. Everybody I listened to had these big voices, and I wanted to try it. The blessing is that I could.

I've been around many different lives, many different voices. It was amazing material for a writer.

We have all these ideas and visions, and they're able to come to life, and our voices are being heard, which is really amazing.

I'm so inspired by the women who are far braver than I am, who have come forward with their stories and risked everything to help others. What is important is that the voices of these women do not disappear. We must amplify them.

There are two voices: the first says write; the second hardly speaks, but I know what he wants. And if I let him, nothing would get done. He hovers at the edges.

I was allowed to write about race using an elevator metaphor because of Toni Morrison and David Bradley and Ralph Ellison. Hopefully, me being weird allows someone who's 16 and wanting to write inspires them to have their own weird take on the world, and they can see the different kinds of African American voices being published.

As filmmakers, we are interested in unique voices.

I always encourage other people to share a story and voices. That is so important.

I feel like I've accomplished a lot, but for me, it's about pushing to the point where I can be Mark Walhberg, Ryan Murphy, or Shonda Rhimes. I want to be at that table in terms of bringing new voices in.

The more queer characters I play over my years of working as an actor, and the more I see other young artists stepping up with the same intention I have, to make space for the voices of a generation of people who may not fit the status-quo, the more it inspires me to keep going.

Modeling for adidas is a dream I never knew I could achieve. I've had it in my mind to work with such a dope ,and it's so amazing that I get to be a part of a campaign with so many powerful voices.

There is no single voice in fandom; there is a multitude of voices, so you listen to them all because there are some good ideas coming from everywhere, but at the end of the day, we have to use our own instincts as a guide.

Finding new voices with fresh ideas is the hardest and most rewarding part of a television executive's job.