Quotes About Creativity

Writing is rewriting; rewriting is writing - from the first crossed-out word in the first sentence to the last word inserted above a caret, that most helpful handwritten stroke.

My interest is in completing an image that is spectacular beyond belief. My fidelity is to the image and the art and not to the bragging rights of making every stroke on every flower. I'm realistic.

In a painting, you can't make out whether the artist painted the left eye before the right eye. In Chinese calligraphy, you can see the progression of the artist's stroke.

The art of newspaper paragraphing is to stroke a platitude until it purrs like an epigram.

I'm doing what all modern artists do now, which is nothing - just sit around and dream about things. I'll do what they call 'the stroke of genius.'

An artist's initial broad stroke is always most impactful, and obsessively adding layer upon layer of paint to fill in details often diminishes the painting's aura. When an aura is lost, it is impossible to get back.

We discovered there were three very specific ways of being in the Strokes. One was in the studio, one was in the face of the media and the other was playing shows.

Well, I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new.

I always want to make Strokes records and play Strokes shows.

And I usually use myself as a model, posing in front of a mirror as I dab the strokes on the canvas.

I made a very good living as a bad writer. I wrote a lot of comedies, 'Diff'rent Strokes,' 'Facts of Life,' while all my friends were doing the good shows, like 'Cheers,' but I loved it because I got to be a working writer in Hollywood.

To me, I love being able to see some of John C. Reilly's face in Ralph, and some of Sarah Silverman in Vanellope. That there are hints of them there. In the broad strokes, they are there.

I don't like to follow someone, but I really like A B de Villiers as a batsman. I think he has got all the strokes and plays according to the situation.

Monet was like a conductor. He painted with quite a straight arm and used bold strokes.

Stand-up is very broad strokes, kind of a skeleton of a story or something.

Because when you're 10, 11, 12, 13, you see all these strokes and you want to copy them. And it's not easy to keep what you started with, if that makes sense.

If you're an only child, you spend a lot of time by yourself, and you develop a strong ability to entertain yourself, to conjure up fantasy.

A lot of artists think they want anger. But a real, strong, bitter anger occupies the mind, leaving no room for creativity.

For me, collages manage to - it satisfies all of my madness, like I'm able to make these obsessive things, but then I'm also able to make these very strong statements. I don't know what they mean to other people, but in my mind, they have a very strong particular resonance; there's sort of a power.

Sometimes you have to exercise your insanity, to really make it strong.

I've learned one general thing in filmmaking: to work with one strong idea. One strong concept that pushes you to work in a certain way artistically.

You can create something strong in art with a few notes. It is like how Aboriginal drawings have a simplicity that is incredibly rich.

There's a side to me that likes to make clothes for everyday. But I also think of fashion as an escape. It's like a dream. Even in an economy that isn't strong and where it's important to sell clothes, you have to make things that let people dream a little.

I think for me to be involved in a festival, there has to be a strong element of songwriting and musicianship.