Quotes About Creativity

As soon as you hear a proposition, the creative brain in humans assumes for the moment that it's true, and starts trying to find evidence. It's what computer scientists in the old days used to call 'Fifo:' first in, first out. The first piece of information that gets in has a privileged position, even if it's misinformation.

I don't see how it's a risky thing to take a great part with a great director and a great script. That, to me, is not really a dangerous, risky proposition. It's actually a really good choice.

Writing is a black-box proposition. You see actors; you can see what they're doing. You can watch the director on set doing his work. But when a studio says to a writer, 'Give us some pages,' he just goes off and comes back. It's just pages, and suddenly, there's some writing on them.

And finding the hat, I always like to find the hat. And then props just dress the set. It's all fabulous.

I don't follow any system. All the laws you can lay down are only so many props to be cast aside when the hour of creation arrives.

The word 'improv' always makes me feel a little anxious because I always feel like we'll have to pull props out of a bag and find 800 different ways to talk about a stick, the way you do in theater school.

The atmosphere of orthodoxy is always damaging to prose, and above all it is completely ruinous to the novel, the most anarchical of all forms of literature.

Yet, it is true, poetry is delicious; the best prose is that which is most full of poetry.

I would rather write poems than prose, any day, any place. Yet each has its own force.

Prose books are the show dogs I breed and sell to support my cat.

Cliches and adjectives permeated my prose.

Gil Thorpe is a great diversion and is to book writing as poetry is to prose.

I don't feel when I'm writing that I'm drawing from any other writer, but of course I must be. The writers I've admired have been not so very different from myself: Evelyn Waugh, for example, that kind of crystalline prose. And I've always admired W. Somerset Maugham more than any other writer.

Prose is all about embellishing and describing.

My prose is turgid, it just hasn't got any energy.

The process of composition, messing around with paragraphs and trying to make really good prose, is hardwired into my personality.

I believe so deeply in the primacy of language, in lifting your prose to the highest level you're capable of and making your words symphonic.

So I really began as a failed poet - although when I first wanted to be a writer, I learned to write prose by reading poetry.

Because I write prose, when I sat down to write a comic, it feels like my brain's working differently. It actually feels like different bits of my head are springing into action.

I started out as a writer. Poetry and prose and also kind of satirical David Sedaris-esque stuff.

I read a lot of autobiographical stories, and I write plays and prose. And I play piano and cello. A lot of my downtime is devoted to that.

For me, writing essays, prose and fiction is a great way to be self-indulgent.

I really - I don't take my work that seriously, and I think that's what keeps me loose. If I try to write, if I catch myself trying to write, I'll fall right on my face. I'll see it. If I see in the prose that I'm - 'Boy, look at me writing,' I rewrite it. I rewrite it because I don't, because I think it's distracting.

The poetic prose that most interests me is that of Henri Michaux.