Quotes About Creativity

Artists are those people who sit at the intersection between the known and unknown, the rational and irrational, coming to terms with some of the confusing histories we, as artists, deal with.

When Wes has a new a project, you know that it's going to be something as different as the previous was from the previous one. Each time, he tries to take you to a country, or a land that is unknown for you and for him, and reinvent this land. That's what he did with 'Darjeeling,' with 'Mr. Fox,' with 'Moonrise Kingdom.'

Artists live in unknown spaces and give themselves over to following something unknown.

I'd like to actually work with a lot of other people, and whether it's someone who is completely unknown who I love and think is a talent, maybe I'll work with them, or, like, maybe I'll work with some of the biggest pop stars and write music for them.

I could make a long list of writers and directors and actors I would love to work with, but the exciting thing for me is the unknown; getting an email through with a new script attached, or meeting someone who is trying to make something.

I really think the mind of someone who hasn't been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I'd like to do a big picture with an unknown director.

I think that music opens portals and doorways into unknown sectors that it takes courage to leap into. I always think that there's a potential that we all have, and we can emerge, rise up to this potential, when necessary. We have to be fearless, courageous, and draw upon wisdom that we think we don't have.

Fear of the unknown is a great creative partner.

If you fall in love with a woman, there's this unknown thing that gives you a force and energy, and music is like that, too. If I lived to be 2000, I'd never know anything about music. And that's great.

If you look at the story of 'The Get Down,' it's the story of young people, unknowns thrown together by their resources, trying to create something.

I got a chance to work with Miles Davis, and that changed everything for me, 'cause Miles really encouraged all his musicians to reach beyond what they know, go into unknown territory and explore. It's made a difference to me and the decisions that I've made over the years about how to approach a project in this music.

I think there's all these unknown things you can tap into when you just leave things open, and nothing is forbidden. Then you allow yourself to mold that thing that has been created by freedom and spontaneity and flexibility. That's why I avoid limiting performances of actors and characters.

Eventually, the more I listened and became obsessed with singers, I feel like the more I realized that I had my own little thing that I could do. So this is why I just became obsessed with looking for new singers, unknown singers, people that maybe have been forgotten, and really checking them out and analyzing what they do.

Of the thousands of people, celebrated and unknown, who have sat before my camera, I am often asked who was the most difficult subject, or the easiest, or which picture is my favorite. This last question is like asking a mother which child she likes the most.

That's just what I want to do: Create a path that's unknown. It's hard in this business and this world we live in to trail-blaze. To create something different and do your own thing is hard nowadays. That's what I want to do. I want to take these matches to a whole new level and break that bar.

I consider creativity to be a more non-rational, subconscious thing. You have a relationship to your creativity - you can feed it with content, with some rational prodding and sleep and things like that, but the mechanisms by which your creativity work are largely unknown.

Writing fiction has developed in me an abiding respect for the unknown in a human lifetime and a sense of where to look for the threads, how to follow, how to connect, find in the thick of the tangle what clear line persists.

By the fourth grade, I graduated to an erector set and spent many happy hours constructing devices of unknown purpose where the main design criterion was to maximize the number of moving parts and overall size.

Every movie is unknown.

The freshest moments in my films have always been with unknown actors.

Design is an unknown.

I like to be on the edge, on the cutting edge, or be into the unknown, into the territory where I have to depend on being in the moment and depending on my instincts.

I really like working with unique and unknown artists, as they usually bring something fresh to a song.

Part of the excitement of doing independent film is the complete unknown of what lies in store for the film's future.