Quotes About Creativity

I don't sit down and say, 'Today I will write a song.' I know a lot of people that do that, but if I'm not in the mood, what's the point of beating my head against the wall?

Writing is very good for household tasks. Because you'd rather fix a dripping tap or paint an old wall - you'd rather do almost anything than sit and write. I have to reach a point of obsession in order to write, and so I find starting a book incredibly difficult.

Pablo Picasso would paint a painting and hang it on the wall, and you would go and see the painting exactly how he wanted it to be made. But if you have an idea for a TV show, for example, you're beholden to studios to produce it and distributors to distribute it.

There was an old acoustic in the house that my mother had given me for my fifth birthday. I took it off the wall and started jamming. I was seven years old at the time.

In school, I learned about artists and how they were free to express themselves. I was allergic to conformity, and the lifestyle attracted me. I wanted to express myself in a way that slammed people up against the wall.

My idea of fun is to sit looking at a blank wall in a cottage, making up stories in utter silence. The thought of going back to work in an office is horrendous.

I always use Michael as, first and foremost, a vocal inspiration, and 'Off the Wall' was definitely the one that made me feel like I could sing.

There's no environment. Use your imagination. There's no fourth wall, whether it's the first time you've told this story about her life, or the sixth time.

Concrete poets continue to turn out beautiful things, but to me they're more visual than oral, and they almost really belong on the wall rather than in a book. I haven't the least idea of where poetry is going.

They've got to deliver twenty-six episodes a season and they're not going to beat their heads up against a wall if they feel something didn't, like, pan out the way they had hoped.

I build a kind of wall between myself and t he model so that I can paint in peace behind it. Otherwise, she might say something that confuses and distracts me.

Know what you're trying to do before you do it. Turning knobs at random isn't enlightening any more than throwing paint at a wall blindfolded will let you paint a nice picture.

I had always been kind of obsessed with making a home of my own and was always drawing rooms that I wanted to live in, down to pictures on the wall and the faces that would be in the photographs, and how the couches would be situated.

When I'm making the music, I feel like everything I throw out has to work. It counts. Because if you don't have people turning they neck all the way around to see what it is, it ain't stick on the wall.

I would be in a room full of people being loud and running around, and I'd be in the corner just playing with the wall. So I was very, very quiet, but when I really got into the arts, that opened me up.

Writing-wise, I like to have a lot of things on the burners at once, because when I hit a wall, I like to move on to the thing I haven't hit a wall on.

I have these huge black foam boards on the wall, and tacked to them, I have these white punch cards with my story ideas, scenes and notes.

Writing is like bricklaying; you put down one word after another. Sometimes the wall goes up straight and true and sometimes it doesn't and you have to push it down and start again, but you don't stop; it's your trade.

My music is very personal. I've created it in solitude. I face a white wall and beller. I like that sound - the expression of loneliness. That's what it's all about.

If I sit down with an electric guitar, what's going to come out are Sabbath/Zeppelin type riffs, but if I'm sitting behind a piano late at night, I might write something like 'Desperado.' You're not going to write 'Desperado' between a wall of Marshalls and thumping, crushing volume.

In Paris in the late '40s, I started making my first reliefs. They are separate panels. I wanted to do something coming out of the wall, almost like a collage. I did a lot of white reliefs when I started because I liked antique reliefs, really old stuff.

Something I notice speaking to writers from south of Hadrian's Wall is that the culture is different. At base, I think Scotland values its creative industries differently from England.

I don't know anybody as creative and unique and off the wall as Dia Frampton. She's always asking me, 'Am I too weird?' I just tell her, 'People don't think you're weird, they think you're cool.'

The key for me is really just to stay in a child-like state in the rehearsal studio. I'm really goofy and really silly and crazy. If I get too serious, I start hitting a wall.