Quotes About Creativity

When inspiration does not come, I go for a walk, go to the movie, talk to a friend, let go... The muse is bound to return again, especially if I turn my back!

If I see three oranges, I have to juggle. And if I see two towers, I have to walk.

I'm one of those people that to be a singer you can just walk around the house and sing, you don't have to be in a studio or on a stage.

The commercial and subsidised theatre are intrinsically linked. I wouldn't have had the career I have had without the opportunities I had through the subsidised sector. However, I do think, in any walk of life, subsidy for the sake of subsidy is not always healthy.

I never walk into the studio and say, I'm going to write a song called... 'X' or called 'Slow Me Down.' I write a ton of lyrics, often the title is somewhere in those 10 pages of... I call it brain vomit. It's kind of like whatever comes out of my head and I'm unabashedly just writing it down.

I think that it's when we step out of the road, step outside the box, become our own person, and we walk fearlessly down paths other people wouldn't look at, that true progress comes. And sometimes true beauty as well.

I feel comfortable in my pop shoes. They let me walk in any direction. I like to go from one extreme to the other. One day I feel that I want to do a song with reggaeton influence, I do it. The next day I feel I need to do a song with rock elements to it, I do it.

A lot of rappers don't have to go through what I had to go through as a singer. I was always in a bubble that they put me in, but I was always punching out. It was a tough line to walk.

I tell people: walk around for one month and write down three problems in your life every day. At first it's easy - you got stuck in traffic, you missed your alarm - but by the end of the month you're looking really hard to get your 90 problems. The most common things on your list are now billion-dollar businesses.

If you write a letter of resignation or something with an agenda, you're simply using a pen to record what you have thought out. In a poem, the pen is more like a flashlight, a Geiger counter, or one of those metal detectors that people walk around beaches with.

Sometimes we'll walk into a set, and I'll think, 'Oh, this film doesn't look like this.' You know, 'cause I read the script, and I saw it in my head in some other way. Which is a lot like what happens when they're writing a movie that's based on a book - I'm like, 'Ah! He doesn't have a beard.' You have these visions in your head about it.

I am proud being an artist who takes risks, who would walk off a cliff artistically. I won't settle for commercial reasons.

It's become normal for me to walk on set as Popeye, Frankenstein or an Elf or even a chicken.

If I walk away from music, I walk away from myself.

When I lived in a little flat in Pimlico in 1981, I'd write in the hallway. As you walked in, there was a tiny little recess type thing, hardly a hallway, really, and I'd sit there writing songs with my guitar.

Magic and new technology have always walked hand in hand - even back in the days of Robert Houdin.

The first time I walked onto the set of Neverland, it was like walking into another world. They built the sets extra strong, so we were allowed to play on them when we weren't filming. It was cool!

It confuses me and disappoints me when somebody says, 'What does he do? What does he do?' My records are some of the biggest anthems ever. What do you think, they magically just appear? Obama walked out to my record.

Electric Gypsy' was really raw. I was literally sketching out the lyrics as they walked in the door. I jumped up and had a sheet of paper and I showed them the chords, which are simple. We counted it off, I got the lyrics off the sheet into the song and played a solo at the end - done!

I didn't realize how much the paint was going to affect how I moved and how I walked. And it wasn't something that consciously happened. It was because the first time I'd done it was a Tokyo Dome show, I want to say in 2013-14, and I walked out there, and I was a completely different person.

I prefer to break new ground, but it gets harder and harder with the territory that's already been walked on.

When I walked into the studio, the chorus of 'Nobody Love' was already set. For me, the challenge was to make it have depth.

I made two rings for myself, and when I was in Los Angeles, I walked into a store called Maxfields, and they essentially bought them off my hands.

When 'The Dark Side of the Moon' was a new album in 1973, a friend of mine walked into my room where I was working with a copy in his hand and said, 'You really have to do a play about this album.'