Quotes About Creativity

If you need to do a movie where you have an army of 10,000 soldiers, that's a very difficult thing to shoot for real. It's very expensive, but as computer graphics techniques make that cheaper, it'll be more possible to make pictures on an epic scale, which we haven't really seen since the '50s and '60s.

I don't think we'll ever use the same sound techniques.

We can use techniques in modifying things, in controlling things, but the first impulse has to be something that you simply cannot make just out of technique, or else it becomes perfectly evident that it is nothing but technique that you're exercising.

I'd go down to the end of my street, to a garage that had a certain feeling about it, or a particular light; I'd take a picture of a friend who needed a head shot. That's how I learned, instead of having school assignments and learning camera techniques.

I don't think anyone has exhausted the range of sound possible in a conventional rock band, but people do become slaves to their own easiest techniques.

I tried to reject everything I knew as a TV writer when I decided to be a novelist, and the books didn't work. Finally I realized I should go back to all the techniques I'd learned.

When I was nine years old, I wrote a short story called 'How to Build a Snowman,' from which no practical snowperson-crafting techniques could be gleaned. The story was an assignment for class and it featured a series of careful but meaningless instructions. Of course, the building of the snowman was a red herring.

If you look at any 15 pieces of mine, nobody does a piece like them. Totally new techniques. All the jugglers are stealing from me and claiming that they've done it.

There are a lot of techniques for developing a character.

Pathos and poignancy are, to me, tactics and techniques; in my work as a writer, I fetch them from my toolbox and use them as required.

I just felt something was missing from my vision of what Tycho should eventually be. It took several years of learning new recording and production techniques to get to a point where I felt I could make a record like 'Awake.'

I want my films to be different, to use different techniques, not just make a calling card film.

I tend to use different microphones, different mic techniques, and different recording mediums - like analogue tape - that evoke multiple eras of recorded music at the same time.

To write, I think it is very important to read. The more you read, the more you know the techniques of writing.

We had so many firsts on 'Coraline' that I couldn't quite see where we'd go from there, but for 'ParaNorman' we developed this 'skewed naturalism' that marries a lot of intricate detail with a more cinematic approach, then just built on all that and pushed those techniques even further, so we can tell our stories that much more effectively.

My approach goes way beyond simply ingredients and techniques. Every dish has to have a story.

Usually, when people think of marquetry, they think of Dutch 17th-century furniture with inlaid flowers and jugs. Our goal is to break down the barriers between old and new, to combine traditional marquetry techniques with a modern idiom.

I'm more akin to things like Sigur Ros, Mogwai, possibly. But when I'm making solo electronic music, techno stuff is just the most exciting form of rhythm.

The art world is a very prissy little thing over in the corner, while the major cultural forces are being determined by techno science.

Me and Dre did all, from Wreckin' Cru to Ruthless, all that. We started making songs first... back then it was the slow songs, techno, whatever they called it back then. 'Planet Rock,' that kinda stuff.

I love hip-hop, R&B, techno and Latin.

Simian Mobile Disco changed my life. They put me onto the EDM world. Although they would hate that term, they're more techno.

I don't want to make an album which is full of brutal and jarring techno.

I believe that if I wasn't born in this technological and 'social media' era, I would have found another way to express myself.