Quotes About Creativity

I've also shot plenty of films with very small audiences - 'The Sun Also Rises.' I love that film, but I didn't capture the imagination of the audience. I don't know why.

In a way, there's nothing new under the sun, so anything you write about has been written about by other people. All you can do is bring yourself to it, bring as much honesty as you can to it.

I wouldn't get nearly as many books written if I lived in New York. The Columbia Gorge is fantastic. When the sun shines, I just want to be outdoors.

There's only three movies I've been involved with in my whole life that I really care about. 'Butch Cassidy and the Sundance Kid' was one, and 'Princess Bride' was the second, and 'Hearts in Atlantis' is the third.

For me, Sundance always felt big. It's not the only way to make your way, but for me, it was definitely that critical link between struggling artist, kind of working on my own, to actually working professionally and being connected and being seen.

I'm about to go to Sundance for my 3rd year, and Sundance has never felt like a real independent festival at all. On the other hand, it might to start feel that way.

I grew up thinking there was something called 'independent film,' which I wouldn't necessarily have had access to if there wasn't Sundance.

When I went to Sundance for 'Afternoon Delight,' I came back feeling like I wanted to take my experience that I learned from directing and bring that into a series.

I play the guitar. This year at the Sundance film festival, I joined the band from 'The Guitar' on stage. We warmed up for Patti Smith, and then the director Michel Gondry got on the drums to play some songs from the soundtrack to his film Be Kind Rewind with Mos Def. It was pretty mad.

Doing anything on a movie at Sundance is great.

So many features at Sundance seemed to be powered more on the director's need to be a director than any particular story.

Sundance is like a genre.

I had to live on $17,000 a year until I was 33, because I was a failed artist until I was 29, when I made my first short film that went to Sundance.

My dad's an amazing photographer, and he loves a Sunday market. So the house was full of all the stuff he'd buy, and frame.

During the week,I'm really focused on writing and output. Sunday is a day when I really try not to write at all.

When I start a book, it's every day. There is no Saturday, no Sunday. It's every day, because if I stop one day, I'm afraid of losing the book and losing the energy.

I am a working person. I always work, study or do research for my novel. I even work on Sunday.

Any given Sunday you'll catch me rapping and joking.

Sunday is a likely day to write a poem. Because poetry is a piece of language flying around: you'll find notebooks, something on your phone. It's about finding them and getting them off that crumpled piece of paper and onto my computer.

My mother's a genius. She just kept feeding me art on whatever we had; paper plates, silver platter, didn't matter. You know, she just kept feeding it to me. So we went to see all kinds of theater. We would go to the art museum pretty much every Sunday, and I would watch her. She let me know that art was supposed to touch.

I don't put on my best clothes to make a film, my Sunday best.

If I'm doing a show on Sunday at 7 P.M., that wouldn't be the same show that I'd do at 11 P.M. on a Saturday - it's a different room at a different time of day with different sensibilities. That doesn't mean you have to compromise your art, but it is communication: you have to know how to talk to people.

I knew I loved playing bluegrass, so I'd end up down there on Sunday nights at the bluegrass jam.

In the mid-nineties, I quit my job as a senior feature writer at 'The Mail' on Sunday in the U.K. and became a 'ghost writer,' collaborating with politicians, pop stars, psychologists, soldiers and sporting legends who needed help in penning their autobiographies.