Quotes About Creativity

I love rock and opera, and I love musical theater, and I don't want to lose any of that.

I did 'Doubt' as a film, a play and an opera.

I guess I am running the risk of becoming the Hans Christian Andersen of opera.

I'm actually doing what I like doing, which is mixing opera music and classical music with soul and folk. And I was writing and talking about what I've actually experienced, and I don't think that's very common.

We did a student-initiated project of 'A Little Night Music', which was the first time that all of the divisions - music, dance, drama, opera - came together and put on a piece. It was a black box kind of feel. We had to get costumes that were pieced together. We had our own lighting that we finagled.

I think Mozart's operas 'The Marriage of Figaro' and 'Don Giovanni' are the two most perfect ever written. The music is magical.

Opera is too obsessed with buildings.

If you decide to work with the opera world, chances are there are going to be people who resist that.

When we work on a new theatre piece, we improvise a lot. But it's the opposite in opera, where everything is fixed.

I adore opera and I truly believe it is one of the most beautiful art forms on Earth.

If I got hit by a bus tomorrow, you'd get people going: 'Oh, we should make 'Mother' into an opera, it's what he would have wanted.'

I loved writing 'Lost.' It was like a never-ending opera, in a way.

Poetry is all I write, whether for books or readings or for the National Theatre or for the opera house and concert hall or even for TV.

I love to write a book out of questions; in fact, I think it's the only way my writing can operate, if there's something I don't understand.

I operate best on big vision and creative detail.

I love to operate in a world that values things outside of beauty. It's just more what I feel comfortable doing.

I'm so deeply interested in what it feels like to be other people that I get to operate under the illusion when I'm writing fiction that I'm not really revealing that much about myself. But, of course, I am, and I know that I am. And yet there's this sort of membrane that I get to work behind as I write my fiction, and I love it.

I can operate in half-a-song format.

For some reason, juggling things makes everything work better. That's just how we operate. It just makes the other project more of something to look forward to. I think the more you keep things going, the more it helps the other project.

My favorite way of making films - and what has allowed me to get key scenes in 'Cartel Land' and 'City of Ghosts' - has been when I've been able to operate alone.

I'll be honest: 'Badlands' changed my life: it really did rewire my brain as to how film can operate.

Before I started writing, I'd never read much fiction. I was more interested in non-fiction. I'm taking the same approach to theatre: I can operate from a position of ignorance and make up my own rules instead of being bound by customs and practice.

A lot of people call me a 'machine,' and I don't think a lot of men or women operate the way I do.

When you're filming, you're blind. But if you follow what really moves you, then you operate from a place of hope: maybe that the story you're telling will resonate with whatever the world will have become when the film is ready to be born.