Quotes About Creativity

When I was asked to do a song from 'In the Heights' at the White House in 2009, I chose instead to do 'Alexander Hamilton' because I felt like I was meeting a moment.

I do think that I'm not good at making pretty things. It doesn't come so naturally for me.

My parents were artists, so my salvation was to make pretty things - and ultimately delicious things at the same time.

'Faces' became more than a film. It became a way of life, a film against the authorities and the powers that prevent people from expressing themselves the way they want to, something that can't be done in America, that can't be done without money.

If you put up a blog, people can cut out the middle man and get material to you. Which is really helpful because a lot of time there's really cool stuff out there that we just don't see. Because, y'know, the agent is acting in our best interest, but it does sometimes prevent some of the good stuff from getting through.

There were no previews; we made the film we wanted to make.

In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.

Every time you make a film, you want to do it in a genre that is different from your previous film, so that there is something fresh about it.

In my previous life, I was an artist. I still paint. I love art.

One of the problems with posing a 'bold new plan' is that you can't just extrapolate from previous plans.

I do films that I like. I have done comedy, romance, everything, and I always like to do it differently from the previous ones.

Working with newbies has its own advantages as they're open to ideas and the audience can see the actresses as themselves, devoid of any pre-conceived image from their previous films.

The idea for 'Midnight Moonlight' was mostly inspired by the moon herself. Advancing from my previous EP 'Moon Shoes,' I felt it necessary to dig a little deeper into who I am and the relationship between my music and the moon.

If things are going well, if the writing's coming along, I jump out of bed happy. And if the previous day has been bad, I get out of bed disgruntled.

Every book I've written has been a different attempt to understand something, and the success or failure of the previous one is irrelevant. I write the book I want.

I had always attended classes and written stories as a creative outlet because I need that, and I thought, in my previous career in a model, the way I approached that was that I believed I was telling a non-verbal story.

'The Chimney Sweeper's Boy' began differently from any previous book I'd written. It actually derives from a story a friend - the novel's dedicatee, Patrick Maher - told me.

Once I started writing the screenplay of 'Bride & Prejudice,' I was convinced Jane Austen was a Punjabi in her previous birth.

I tend to edit some as I go - partly because one of the reasons I don't outline much is that I don't know what the next scene will be until I've actually written the previous scene.

When I begin working on a production, I don't really think about my previous album or albums. I try to have a real creative process.

I want to make every film different from my previous one.

My competition is always with my previous song. Each time I start working on a new track, I try to make it better than my last one.

Shaw's plays are the price we pay for Shaw's prefaces.

Art should be able to be innovative without compromising itself. That's why I believe artists should have bigger preoccupations than checking the price tags on their work or becoming curators' darlings.