Quotes About Creativity

There's always plays that Coach Reid just draws up every single week. I always say that they always work. He just gets on the board in his room and just starts drawing plays. The possibilities are endless.

I don't know what it is, exactly, but there's a negative drag on film sets after the second week or so, a mutinous vibe because the infinite capacities of the directors and everybody else become quite finite and everybody's under the gun and it becomes work.

At the beginning of every week, I like to sit down and figure out what I'm going to make. I probably try at least two new recipes a week. But I have my standbys - jambalaya, meatloaf and mashed potatoes.

This is the good thing about commercials, is one week I'm working with Derek Cianfrance and the next week I'm working with another really good friend.

Once a week, I don't eat for 24 or 30 hours. Your brain becomes very lucid about ideas. It also made me so grateful for food and for life, basically, and that's why a lot more joy is coming through our music, I think.

On Saturdays, I get up early, spread out my notes from the week on the kitchen table, and create stories from them.

I have female friends who work in all different mediums who I speak to at least once a week. It helps me so much to know that I'm not alone. I think that's the bare minimum you need to sustain yourself - some sort of context of other women making things.

When John and I were together, and this is about a week or two before our relationship ended, I remember him saying, 'Do you think I should write with Paul again?' I said, 'Absolutely. You should because you want to. The two of you as solo performers are good, but together you can't be beaten.'

I feel like I don't mind acting in a sitcom because it pays well and is good exposure, but I don't feel like, comedically, what I have to say I can say on a show that needs to draw 14 million each week.

Personally, I do movies the way I cook: I put in what I like in case nobody else likes it and I have to eat it for the rest of the week.

My uncle was in a ska band called the Top Cats; that was my first proper influence, as I was taken to see them every week. It sort of built up, the want to replicate it creatively.

Between speeches and awards, you can find something to do every other week. It's hard to write. Your focus gets splintered. Once you put one thing in your calendar, that month is gone.

We just said, 'Okay, you're in the movie. Bring what you would bring for a three-day weekend and I hope you like the way you look in it because once you're on camera, that's your wardrobe.' But it worked; it worked and we were very surprised.

When I was bringing up a child, I taught myself to write in very short, concentrated bursts. If I had a weekend, or a week, I'd do unbelievable amounts of work.

I've been hugely inspired by Khalid, XXX, Post Malone, and The Weekend. That's the kind of sound that has really inspired me.

I adored my grandparents and spent every weekend with Mama and Papa Wicks. They had seven children, so they needed a big house - and it seemed only logical to them to build into their house a pipe organ in a music room with a sixteen-foot ceiling.

When you have an employee who's innovative in your organization, what are they thinking about in the shower? If they're working in an exciting place, they're not thinking what they're going to do over the weekend. They're thinking: 'How do I solve that problem?'

I did the coffee house thing - we have coffee houses where people play, or we used to - and when I was 14, I started there. Just played all the time. Every weekend I had a show, or every Thursday. Open-mic nights, the whole thing.

But it was this tough little character part that I was playing, a very funny little guy that I invented over a weekend, because I realized I was not contributing to the humor of this thing. And I had to do something.

I was that kind of kid that was going to the movies every weekend, I couldn't get enough of the movies, and now I get to make them. So I kind of have a one-track mind.

The hardest part about writing fiction is finding long stretches of time to do it: for me, this means writing mostly on Saturdays and Sundays. But I am always thinking about my characters, jotting down ideas in stolen moments and hoping I'll be able to make sense of them when the weekend rolls around.

It's an awesome thing to be flung out onto the stage twice a weekend in front of 250 people, and you have to make it up as you go along.

My mum said I told her I wanted to be a hairdresser during the week and a star on the weekend and that was when I was really young.

Until now, I've been a kind of binge-writer - I'll carve out five or six hours on a weekend day and make a large container of espresso and just bang out a lot of words.