Quotes About Creativity

My only expenses are probably guitar strings and records.

Nothing speaks louder than an evocative photograph that stirs the imagination, tugs at the heart strings and engages the mind.

My guitar only has five strings 'cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.

I just couldn't take school seriously: I had this guitar neck with four frets which I kept hidden under the desk. It had strings on it so I would practice my chord shapes under the desk and that's about all I did at school.

I write as if I were drunk. It is a process of intuition rather than placing myself above my story like a puppeteer pulling strings. For me, it's a scary, chaotic process over which I have little control. Words demand other words, characters resist me.

All gut strings. That's just the first kind of guitar I played, it was a nylon string guitar. And to me, it's the purest form of guitar making, and I just enjoy doing it.

The Gaslight Anthem is very streamlined. We don't usually use organs and strings and things like that.

All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.

I needed a capo - a clamp to hold down the strings - so my daddy made me one out of a corn on the cob and a rubber band.

We built something very special with Gaslight, and we don't want to mess with that sound too much. But I've always wanted to do a record where I can put strings or organs or pianos or whatever on it.

I collect many ethnic instruments, and as a guitarist, I'm usually able to play any sort of instrument - as long as it has strings. That's why I like to experiment with different sounds.

By adding open strings to even the simplest chords, you can create voicings that sound sophisticated, but are really easy (and fun) to play. They're practical, not intimidating, and most certainly don't sound like 'jazz chords.'

The isolation of Eastern Europe actually helped me to be so original. I couldn't travel so much, I had to find my own things, such as making the strings sound like electronic music.

I found I could speak through the guitar. Because you have the feel of the strings with both hands and it's up against your solar plexus, it's real, and so there's nothing between you and the music.

I went through a period in my life where I didn't have money to buy ramen noodles and peanut butter and jelly, but I also needed to go to the guitar store and buy strings and picks and polish and rags. I couldn't live with myself if I didn't play guitar.

I have grown up listening to Strings and they have always been a source of inspiration to me.

Rhythm, melody, message, that's what matters. Our main concern coming out of the gate is to make sure those foundations are strong, the songs are speaking to us. Everything else, horns and strings, is sweetening.

It's not my style to either wear minimum clothes, to strip, or to even be comfortable with a sex-symbol label. I just want to do good work instead of sporting such meaningless tags. Sex sells, but to a small extent, not always. And this is what filmmakers have to accept.

I've always recorded the same way. I put down as many ideas as I have, then strip them away at the mixdown. It's better to have too much music than not enough.

Music is multi-dimensional: it's all in the feeling. Sometimes I feel like looping; sometimes I don't. Sometimes I want to strip it back, play instruments I've never played before.

I made the first Moebius strip without knowing what it was.

Most films are rooted in a book or a comic strip, but I don't go out there saying I want to do adaptations.

I always wanted to write something illustrated, and the Details strip finally gave me the opportunity.

Well, I'm always working on my comic strip and trying to, you know, keep cranking that out.