Quotes About Process

When I visit local communities, people often complain that they need the approval of several dozen government departments to get something done or to start a business, and people are quite frustrated about this.

When I went to visit this rice cake plant, I hadn't realized how the rice cakes were made. As soon as I saw the molds of rice and how the heat pops it like popcorn, the light bulb went off. This is popped. This isn't baked or fried.

So, as a child in school, I used to write essays on how I spent my holiday or about a visit to a temple. I used to document small things and enjoyed the process of writing even then.

I argued that until FBI director James Comey gives a green light to new visas, and not until we completely reform the vetting process for new foreign visitors, that the borders should be sealed.

Everything with the draft process, from the combine to visits to pro days, that's great but it's not football.

My entire learning process is slow, because I have no visual memory.

I write my novels longhand. I love the feeling of writing; I love to see pen on paper. It feels more creative than typing, and it's a more visual process for me - I can picture the entire scene in my head and am merely writing what I see.

I write when I have to; I write when the song is done and I deal with the idea and I just go with it and I'll become what that song is all about until I have finished it. And when you do that, it makes the song more visual, it makes it more personal.

At some stage in the process, most mainstream pop records are being manipulated and possibly completely rebuilt on a computer, with a visual program.

Writers divide fairly cleanly into those who only work through what they hear and those who are more visual. I am the latter, where I lie down on my office floor and play scenes through my head to - cinematically, several times with different elements - to see what works. I can't write a scene until I can see it.

Why do we use flash at all? Because photography is not the same as eyesight. We can see in low-light situations where cameras, dependent upon a physical process to record visual information, are half blind.

When I first start writing a song, I usually write the title first, then the song, and I'll sing the song in my head and think of a visual of the song. If I can't think of a visual behind the song, I'll throw the song away.

I never think about it much, the visual aspect of it, until we start making the movie. I don't really think about it when we write. When we finish, and I start putting the film together, and we pick the locations, I do think about that a lot.

The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.

It's about the characters, it's about the film, it's about the process of making stunning visuals and a huge, epic movie. It doesn't matter if my head was covered in a black plastic bag and I was bouncing around in a space hopper: That's the villain of Chris Nolan's 'Batman!'

Videos come definitely after the music has been created, but I have always felt, and especially today, that videos are vital in the album process. I think that we live in a very visual era, and if you make a mistake with a video, those images will accompany the song forever.

When I begin a book, I inevitably discover many things along the way, about the characters, their past histories and the political intrigues that surround them. This discovery process is vital, and I would not prejudice it by deciding too much in advance.

All too often, vital electronic evidence has been made unavailable through encryption that doesn't allow for execution of legal process including court-approved search warrants.

I like the idea of the audience absorbing the language and getting to understand it as they journey through the film. It starts off being more obscure, but you get used to it. A 'Clockwork Orange' thing. I read 'Clockwork Orange' without any vocabulary, and I got to understand the words as I went through it. I like that process. It immerses you.

Usually when we go in to cut demos, one of us will lay down some mumbling sort of stuff for the vocal melodies because the lyrics don't come until later.

I learned a lot from working with and watching Knxwledge, seeing how he produces non-stop. He doesn't dwell too long on stuff. He's very simple, using only about two or three elements. I like that in production. Sometimes it doesn't take more than three drums, a melody, the vocal, looping a sample or whatever, just as minimal as possible.

It's the actual recording of the vocal that is the most boring thing you'll ever do in your life.

I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging.

I keep these songs in my head until I get behind the microphone. I never spend more than 30 or 40 minutes singing the vocal or it will sound mechanical. There are always mistakes, but it's about feeling more than being perfect.