Quotes About Creativity

Believe me, there is nothing more rewarding than making Peter Jackson chuckle.

If I say often enough that I'm going to be in 'King Kong,' I'm hoping that Peter Jackson will take the hint.

I'm not one of those people who had a burning passion for 'Peter Pan' all my life. Although I can't remember a time when I didn't know the story, I didn't carry around with me an ambition to one day write the sequel.

The kind of filmmaking excitement that director Peter Weir brings to movies is bone deep.

When I was about six or seven, I did this character reenactment performance where I read a monologue from 'Peter Pan.' I got into a complete Peter Pan outfit and did a little paragraph from the script - and I ended up winning an award for it.

When I got my overall deal at Fox, I got amazing bosses in John Landgraf and Dana Walden and Peter Rice. For the first time ever, they said, 'Don't change who you are; be who you are. And write something you want to watch.' That thing was 'Glee,' and it took off from there.

Peter Jackson is a real big hero of mine because he had the nerve to make 'The Hobbit' at 48 frames per second.

Peter Jackson has the sort of imagination that no one else has.

I'd done 'Peter Pan' in a little pre-K class or whatever.

Other than Peter Jackson doing 'Lord of the Rings,' I don't get it when filmmakers follow up a movie with a sequel to the same movie. God bless 'em if they can be up for it, but that would drive me insane.

Oh yeah, I love Peter Gabriel's stuff. I mean, I even have the Genesis records. He's incredible.

Obviously I don't play the same way as Peter, but I could do a passable imitation of Peter Green; if you gave me a guitar I could sit here and probably get closer than anybody else.

I was surprised that 'The Peter Serafinowicz Show' didn't get a second series. There are things like that that get stifled at birth and you wonder why they didn't happen.

I was petrified about 'I'm in You.' I couldn't wait to get it done to know whether it was good or not.

In 'Secret Life of Pets,' it's a huge orchestra - really, really big.

I no longer enjoy drawing people's pets. I just want to draw what I want to draw and have people not tell me what to draw.

If I would go up on a high note, Eddie would want a low one. That's how petty the situation had become.

What I find curious is that I ever became a writer at all. I grew up in the South Bronx, the land of poverty and petty hoodlums.

'The Phantom of the Opera' is the biggest thing I've ever done, bigger even than 'Cats' which, in itself, I never thought we'd top.

I had this little Bon Iver phase a few years back; 'Flume' was one of my favourite songs.

A lot of the songs that I wrote during 'Pt. 1' and 'Pt. 2' are the first songs that I ever wrote that sounded like that. I was in this phase - a certain creative space in my life - personally and musically.

'Weedflower' was already in the copyediting phase when I heard about the Newbery award, so it didn't really influence my writing of that book, but since then, I have become more aware of having an audience.

I wanted to be a painter when I was a kid. And then, I had to make a living. I had a child when I was in high school, so I kind of had that work phase in my life.

I definitely went through a phase where I wanted to be a fashion designer when I was younger... But I certainly wasn't very good at it.