Quotes About Creativity

If you're trying to be more creative, one of the most important things you can do is increase the volume and diversity of the information to which you are exposed.

I wrote 'Marvels,' which was about a guy who had two daughters, and I wrote 'Astro City Volume 2 #1,' which was about a guy who had two daughters. In both cases, about a year and a half or two years apart. And then after that, I had two daughters, about a year and a half or two years apart.

In 1971, when I was 29, I wrote my first volume of poetry. I am a poet, and I have published four books of my poems.

With 'Brooklyn,' I knew the story I wanted to tell, and I just had a very strong sense that if I turned the volume up a little bit, it could be something really special.

My mom really let us do our own thing and play with different trends, and my sister was a little older, so she had all the beauty tricks. I would stuff things like rolled-up toilet paper into my hair to get volume, or do the reverse, and I'd lie on my back, and she'd use an actual iron to straighten it.

When I was doing 'Formula Volume 1,' I had so many ideas that I knew one album was not going to be enough.

I'm a big believer in volume. If I made three times as many movies as Stanley Kubrick, that must mean I'm three times as good.

Standup is essentially part of your personality with the volume turned up.

Early on in my career, I was really into the volume pedal techniques that somebody like Steve Howe or Alex Lifeson would use.

All of the biggest technological inventions created by man - the airplane, the automobile, the computer - says little about his intelligence, but speaks volumes about his laziness.

For me, it's really like, okay, if you go far with the unexpected materials and unexpected proportions or volumes, then keep the colors quite simple and straightforward for men.

I'd never really been content with just churning out these slim volumes every three or four years. I've always tried to think of poetry as an active ingredient in the language rather than just something that appears between the covers of thin books.

The most inspiring objects are books. I have about 5,000 volumes in my home library. It's an unending source of visuals and ideas.

I have in the past acquired a reputation for concocting non-existent writers and unwritten volumes.

In my honest opinion, in 'Volumes I' and 'II,' we were still trying to figure out our sound.

My brand is to make things harder for myself. I carry too many things at once, I volunteer to make a 12-layer cake no one asked for, and I do all my mixing with a tiny spatula.

I had a teacher who loved movies. He had a little theatre called The Flick, and he would let a bunch of us volunteer to work there, and he also let us make little movies in class.

With everything that I design, from a church to a plate to skyscraper to a spoon. I am always thinking about voluptuous volumes and spaces.

I'm a working writer; this is my job. So it matters to me that it's good. I sweat over every word. I don't just vomit this stuff up. It's agony. The only thing that comes close is childbirth, except it's like being in labor for eighteen months.

A bad version of a virtual reality video makes you vomit in your headset in under 10 seconds. It's much easier to make bad VR than it is to make good VR.

My music is almost like vomit! It's a horrible way to put it, but I feel it, I say it, and I doubt myself all the time throughout my whole life, but when it comes to music, I just don't. I don't doubt myself.

I did my first little kids' musical, 'The Sound of Music,' at 5, in a jungle gym, essentially. I was a made-up Von Trapp child, Ingrid Von Trapp.

I would amputate my toes to work with Lars von Trier again.

Lars Von Trier is a genius. Every film he makes is so honest and powerful.