Quotes About Creativity

I was 12 when it really hit me. I did children's theatre camp during the summers and played a fairy in 'A Midsummer Night's Dream.' The next summer, I played Clytemnestra in 'Agamemnon' and I was like, 'OK, this is amazing.'

10 Summers isn't just a label, it's a lifestyle.

I've always been adventurous. In the summertime, my mom would lock me outside of the house and say, 'Do something, and come back later.'

I'd love to have another film to go on to. I'm in the mood to work. But I have to be patient, you know, to find that particular kind of project. Occasionally I'll write one myself if I can summon up the energy.

I cannot summon up inspiration; I myself am summoned.

At age 77, I need the help of someone with more energy than I can now summon to finish a book.

My 10th Sonata is a sonata of insects. Insects are born from the sun... they are the sun's kisses.

Photograph: a picture painted by the sun without instruction in art.

There's nothing new under the sun - you just get a can of paint out.

The electro scene is all over the clubs now: groups like Duck Sauce, Empire of the Sun, even MGMT. But I get inspiration from everywhere. I'll go to the gym and put on old albums - Guns N' Roses or old Jay-Z.

No idea stays pure. Even the flowering of art isn't pure. And the sun has spots.

Gershwin inspired me very much. The concept of 'That Lucky Old Sun' was inspired by 'Rhapsody in Blue' - not influenced, but inspired.

Sun Studios was where so much of American music exploded from.

I go where the material is, and I feel like I'm looking for really strong directors. That's the key ingredient. There are some directors I would move the sun and earth for, or stop the rotation of the planets, just to work with them.

There's nothing new under the sun, right? I think the most modern thing you can do with designing is just taking something that's existing and introducing it in a way that hasn't been done.

Most of the time, particularly with this record, 'The Light of the Sun,' I really just been standing in front of a microphone and blacking out musically, you know. I'd come back a couple hours later and there's six songs from beginning to end, you know? I don't know what I'm going to say. I don't know how I'm going to say it.

I basically sat down for a month, with all the Sun stuff I could find and just picked out my favorites. I didn't think that they were indicative of '54 to '57, although I tried to stay within that period.

I think it's hard to put a finger on my music. My music has always been an amalgamation of everything I listen to, which includes everything and anything under the sun. Hip-hop to country to R&B to pop, all the things I'm inspired by find a way into what I do.

I knew there was something about 'Sun Medallion,' in particular, because I just had to record it the second I wrote it.

I've directed 'Raisin in the Sun' five times. You keep discovering things. You keep on seeing things in the script that you never saw before. That's what great pieces of art do.

I love leaving the door open to good ideas. I love the collaborative swirl. I get charged by problem-solving, usually under some kind of stress - the sun is going down, and we have eight minutes, and we have to solve it. Great things come out of it.

Because I have no consistent schedule as an actor, it was difficult to develop one as a writer. Ideally, I'd like to write first thing in the morning, every day. But sometimes I'm called to set before the sun comes up, or I've worked late the night before, or I'm on a plane.

In history class, I wrote a poem, 'The Royalists and the Roundheads.' I would write poems about driftwood in art class and little stories about the sun, moon, and stars in science class. Since not many kids were writing in class, I got away with it.

There's an abundance of hope in Hollywood, as if it's fueled by the sun, and maybe it is.