Quotes About Creativity

I had a huge interior world as a kid: I'd sit on endless wet holidays in Cornwall playing with paper dolls.

When we draw on the tablet, the drawing shows up on the computer screen. If we have chosen to tell the computer that the stylist is to behave like a piece of chalk, or a pen, or a wet brush, it will.

A writer can write in an attic, or on top of a bus. Or with a sharp stick in some wet cement. To act, an actor has to have words. A stage. a camera turning.

When I was in junior high, a foreign-history teacher started a theater class. So I got my feet wet there and through high school, so I was very fascinated with acting as a means of expression.

The cool part of being an entertainer is getting the opportunity to get your feet wet in all areas.

I'm going to be doing solo stuff. The idea is to do 'small' and 'off my beaten path,' or go back to an old, beaten path - do some smaller things that I haven't done in 15 or 20 years. Just to sort of get my feet wet, because I haven't done my own material for a couple of years - I've been doing a lot of other things.

I have no animus toward digital, though I still pretty much take everything on a silver-based negative, either a wet plate or just regular silver 8x10. But I've started messing a little bit with scanning the negative and then reworking it just slightly.

The phone started ringing when I dropped 'Whack World.'

Once we start hitting lyrical themes that can whack you from all these different perspectives, we know we're onto something special.

I don't want any gimmicks. The fact that people think that Whack is a gimmick is so crazy.

I have these rhyme-based ideas because I love Julia Donaldson. 'The Snail and the Whale' is one of the most beautiful poems, and I feel like I could do that.

'The Squid and the Whale' I shot in 23 days. I would have loved more time for it at the time, but in some ways that kind of kamikaze way of shooting was right for that movie.

I wanted to do something creatively, having been a beached whale for many months and nursing my daughter.

Filmmaking has been my love since my mother brought me to see James Whale's 'Frankenstein' at the local library at the age of six.

I got the idea for 'Throne of Glass' when I was sixteen. Music always inspires my books, and when I was listening to the 'Cinderella' soundtrack, I thought, 'What if Cinderella was actually an assassin who liked getting dressed up all pretty and going to the ball, but then she wouldn't mind kicking butt?'

I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'

I know what it felt like to walk into school and have kids say, 'Mr. Spangler's here!' And I thought, what if I gave that power to a parent so the kid looks at them and says, 'Dad, let's make a smoke ring launcher in the garage today.' What parent doesn't want to be a rock star?

One day, the people who work in my kitchen stir-fried chopped Napa cabbage to serve with some meat or fish for their own dinner. I got to thinking: 'What if the cabbage was the most important thing on the plate?'

Sitting still, a person produces about 100 watts of heat. What if you could use that to charge your cell phone?

What if someone created some sort of eyebrow pencil that was revolutionary and that was made specifically to help eyebrows look more realistic?

What if we treat the high-rise like a mountain, or we have gardens in the sky, or waterfalls? I think that's the most challenging thing I want to try in my architecture.

People have mentioned, 'Maybe you should try to be more sexy. Look at how this butt stuff propelled this person to the top of the chart; it's amazing!' And I'm like, 'What if I really want to sing something to people?' I speak my mind. I want to be that person people feel they can listen to.

At first, I see pictures of a story in my mind. Then creating the story comes from asking questions of myself. I guess you might call it the 'what if - what then' approach to writing and illustration.

I'd say any good set or any comedy that I've worked on, that's worked, has been comedians pitching ideas back and forth to each other. A lot of like, 'What if you say this? What about this?'