Quotes About Creativity

I can't talk about my singing. I'm inside it. How can you describe something you're inside of?

Mentorship is really important. I really like to talk to people who have been in the music industry much longer than me about artists' block, things I'm struggling with, or the music business. It's really important for artists to have a community. Sometimes you can feel quite isolated.

Not everyone's really got the heart to talk about what's going on with their love in their music.

I remember auditioning for record labels and having them tell me, 'Well, the country-radio demographic is the thirty-five-year-old female housewife. Give us a song that relates to the thirty-five-year-old female, and we'll talk.'

No one was asking me to be on TV. So I made my own late-night TV talk show.

I really enjoyed playing Vinny Vedecci, the Italian talk show host. He was the first character I ever came up with where I gave him a name and a way of dressing.

I would daydream about what it would be like to be an actor. I would even do talk shows where I interviewed myself.

If I am with one person, I am very talkative, and personable. I will talk your ear off, but if there is another person interjected, I get so awkward. I am like the awkward one in those situations, but I feel like a lot of creative people are.

It used to be you sat up in your attic and wrote and went down to a local cafe and talked with people there.

When I was a journalist, I didn't care how many people talked to Ice Cube before I talked Ice Cube. I just knew that when I talked to Ice Cube, it was going to be different than what anybody else had done, and it was the same with any group.

'The Chairs are Where the People Go' was told to me by my friend Misha Glouberman; I typed as he talked. In 'How Should a Person Be?' the transcribed dialogues between me and my friends help form the structure of the book.

Many poets in Iran have learned to speak almost a secret language, where political issues are talked about in allegorical ways.

So I went out and bought myself a copy of the Writer and Artist Yearbook, bought lots of magazines and got on the phone and talked to editors about ideas for stories. Pretty soon I found myself hired to do interviews and articles and went off and did them.

All painting, beginning with Impressionism, is antiscientific, even Seurat. I was interested in introducing the precise and exact aspect of science, which hadn't often been done, or at least hadn't been talked about very much.

I finally wasn't interested in writing music that played while actors talked.

One thing I always heard from the begining when I talked about this being a movie - was that the rule is that animated movies don't work unless they're Disney movies for kids. Unless they're family movies.

I remember, as a young architect, people always talked about I. M. Pei's concrete. He had a particular specification no one else knew.

The only one who is alive today and still being talked about is Pierre Cardin.

I talked with Brian Stokes Mitchell, who agreed with me that if you have a gift there is always stuff to do.

The impossible talked of is less impossible from the moment words are laid to it.

I'd met Dr Dre, he was thinking about his next album, we talked a little and he said, 'Let me give you some of these loops and see what you come up with'.

I talked to the record company about what I had in mind. They said they wanted something lush. I figured the best thing to do was let them hear what I had in mind.

I've talked about sex a great deal in my music for a great while now. I feel very comfortable with it.

'Rigoletto' has long been one of my favorite operas, and it was on my short list way back when I first talked to Peter Gelb. I started thinking about what I could bring to this masterpiece, which has been seen all over the world for so many years.