Quotes About Inspiration

I like to mix pieces in my art direction from the '60s or the '40s and the '90s and present-day stuff. To me, that feels very real. When I go into people's houses, it's not all today.

My absolute favorite pieces are 'Rhapsody in Blue' and 'Begin the Beguine.' I play these when I am working.

I believe in Buddhism. Not every aspect, but most of it. So I take bits and pieces.

If I'm getting dressed up, I love Alice + Olivia, they have great pieces. I still look at all of the whowhatwhere.com and I read all of the fashion blogs. I'm working my way up to more grown up pieces.

As I'm writing, certain things become clear to me and certain things begin to feel right and make sense. The pieces start to fall into place.

I kind of love my work. I really love the pieces I do.

I see bits and pieces of me in all the characters in my films.

I don't have one person that's a mentor. I have so many different people that do so many different things within the industry. And they've all been working for so long that they give me little pieces of advice here and there.

I luckily had a very charming, lovable mom who I think everybody could see bits and pieces of their mom in.

The best thing about being a cartoonist is to walk into a bar or someone's apartment and they don't know you, but they've taped one of your pieces up.

I have done some short pieces that are not horror.

It had a very good arrangement by Herbie Hancock, but it used existing pieces.

The play is one of the very few pieces of great dramatic and comic writing that I have read in a long, long time. I was drawn to it because of the power of the writing, which gives me the actor a chance to explore many facets of myself.

I'll look at the script and I'll try to find as many books, movies, and pieces of music that I think are going to feed each scene or the character as a whole.

I'm always jotting things down on pieces of paper. I've got pieces of paper all over my house.

There are certain pieces of music that are always attached to certain books.

I have a folder of scraps and pieces of paper with stuff, ideas for songs from the last 25 years; just little things, maybe early songs that I finished, but didn't think they were good enough.

When I started writing 'A Million Little Pieces,' I felt like it was the right story with the style I had been looking for, and I just kept going.

I find it an easy way into writing pieces is to think what the character's voice is like, and start from there.

I grew up on the Bond movies. The first one I saw was 'Diamonds Are Forever,' when I was a kid. I just loved them to pieces.

I aspire to make a record that sounds better 10 listens in than it does after two, and still, at 50 listens, you're picking out things that add a depth and a thoughtfulness to it; there's enough in there that you can still be extracting pieces out of it.

Honestly, not being evasive, but the great thing about Bond is that I have fifty years of movies - 23 movies and all the Ian Fleming novels and short stories, all of which are fodder. And when I'm working on the new Bond, I'm constantly going back to Fleming and the other movies - what are the bits and pieces, what are the resonances?

I tend to write longer narrative pieces after I've finished writing a novel - when the fiction's finished and put away, and I have a chance to take all the ideas that are buried inside of my novels and work with them directly.

Once you put something like 'The A-Team' on the map, it does become part of the DNA of television. People grab little pieces of it. I certainly grabbed little pieces of other people's shows when I was creating my shows.