Quotes About Creativity

Sometimes, being a feminist artist, there are times where I'm in a position where I just want to feel like I'm saying all the right things politically, or I feel like I have to mention my own project over other people's projects. But I don't do that anymore. I just want to be off the cuff and honest.

I like to play music. I like projects. I like excuses to hang out with my friends and play music.

I've just always loved really good projects. The things that draw me into a new project have very little to do with genre and have more to do with the characters I'll be playing, the people I'll get to work with and things like that.

I like playing in other projects.

I'm not interested in going to casting after casting, trying to get into that game. So there is a part of me that knows that I will do more characters, even if I have to produce those projects myself to get those projects out there. If the right characters come along, I would love to. I would jump at the chance.

I love the opportunity to do lots of different kinds of projects - independent films and big studio epics as well. I'd love to be able to do a mixture.

I try to pick interesting projects, the kind of projects that I would want to watch.

When you are developing something, you have to look at it individually. You can't compare and contrast it to the projects around it, because that way madness lies.

As an author, you spend a lot of time by yourself in a room making clicky noises. It gets pretty insulated. You realize pretty early on in your career that even if this goes well, you could spend all your life in a room alone. Unless you pick projects that are going to get you out doing things, you're not going to actually live your life.

I don't like necessarily that people think 'Metal Gear' defines me. I love 'Metal Gear,' don't get me wrong. But as a creator, I really want to work on other projects, including new games.

As I get on and films take four years to complete, I tend to have a hankering for very short projects so you can move on to the next idea. It's the ideas I'm interested in. What comes out of your head.

If you look at what I do, there's no consistency. The consistency is that there is no consistency. I do projects that are good and not so good.

My greatest love in life is to develop projects. I just get a huge kick out of that. I've been doing it since ever I could.

I've got to be out doing a million things. That's how I find stories. That's how I get the relationships and get the projects that I get with the writers, the directors.

It usually happens that I have multiple different projects going on at once, and one can be referencing the other.

Whether I am collaborating with different people, I like changing projects conceptually so I can grow.

A lot of our animation projects are co-productions with French production companies.

We very much use a prototyping model, play with ideas, and then get stuff started that way, which is how the greatest projects get started.

I don't take on projects that are a hassle or when someone comes in and says, 'We really need this design,' and I'm like, 'OK, fine, I'll do it.' It really has to be something that I personally feel intrigued and excited about - any product, as long as I'm excited by it. It doesn't have to be a car.

Since 'School of Rock' opened, for the first time in my career, ever, really, I've had a lot of projects offered to me. It's extraordinary. Normally, I've initiated them all myself.

I'm not particularly prolific.

When people say to me, 'You're so prolific!' it's, like, no, I'm just hopeless with money.

I'm not an extremely prolific writer. I don't write songs all the time.

I've not been a prolific poet, and it always seemed to me to be a bad idea to feel that you had to produce in order to get... credits. Production of a collection of poems every three years or every five years, or whatever, looks good, on paper. But it might not be good; it might be writing on a kind of automatic pilot.