Quotes About Creativity

Because I feel like I can do so many different things, and people like my music for different reasons, I don't feel pigeonholed. I think people are always going to appreciate whatever direction I take.

I do not want myself to be restricted to a pigeonholed kind of filmmaker.

You can watch actors create their illusions, but if you don't see where they get the pigeons from, you don't really know how they're doing it.

We say that we are the guinea pigs of our experiment, we are doing things on ourselves, and if the audience can enjoy it as much as we do then that's great. If they don't, that's not a big deal.

Every album is just a greatest hits of whatever songs are on a pile when I go in to make a record.

I wrote probably my phattest banging record with Knife Party: 'Pile Driver.'

I think when you look at architectural photography it doesn't help to have piles of old clothes lying on the floor. Architectural photography sets up an artifice.

I write every first draft - almost every draft, but certainly the first - by hand on blank white pieces of paper, so I don't know how long it is as I'm writing; it just piles up, and then I input it all in my computer, and I learn how long it is.

I am a great procrastinator. When the writing is going really well, the laundry piles up.

I didn't expect 'Scott Pilgrim' to be successful. I just made this weird comic to entertain my friends.

'Scott Pilgrim' is something that was a little bit more difficult to put in one box. But, to me, that's not necessarily a bad thing about the movie.

One of my biggest inspirations was Alanis Morissette's 'Jagged Little Pill.'

Drawings, paintings, and sculptures. That's the three pillars of art academia.

I always have to have what I believe are the pillars of an album - songs which I can go back to and admire personally as a piece of writing.

I built a fort when I was little, with pillows and blankets.

I said, I don't want to paint things like Picasso's women and Matisse's odalisques lying on couches with pillows. I don't want to paint people. I want to paint something I have never seen before. I don't want to make what I'm looking at. I want the fragments.

If you have time-release pills, you could have time-release expanding cheesecakes.

I have this TV pilot I was writing for and a couple of films. It's just a different way to express myself.

I won't name any names, but I've done a couple of shows where once the pilot got picked up, the creators openly said, 'I have no idea where we're going.'

I've pitched many things that have not gone, but every year, I'm in that pilot game like a lot of other writers in Hollywood.

I went for officer training to be a fighter pilot, but never got past the aptitude test. So I decided to put on makeup and ponce about in front of a camera.

Most of the pilots I choose do not have high-concept ideas, so for me it's not the idea as much as the execution of the idea, and if the idea, like you take a bar in Boston, that's not a high-concept idea. But if it's executed well, it makes a great show.

I've written several pilots that haven't gone, so that's why you haven't seen any.

We shoot a lot of pilots that don't get picked up, and no one ever sees them at all.