Quotes About Creativity

What I like about Broadway is that you are still entertaining. You're standing in front of an audience every night and the critics are not friends at all - and that's good for me as an entertainer because I want to grow. It also gives me the structure of remaining in one city so I can get creative in different ways.

I am partly not conscious of structure with my movies, but this is when I am writing. I leave my mind very free, and then I correct it after.

What I have found is that, in a family business structure, sometimes what is needed is a sense of discipline rather than creativity. You have to take everyone's ideas and make it work. When you are dealing with money, there is a limitation on how creative you can be.

I don't need to write comics for a living. I have movies and TV for that. I write comics for one reason and one reason only: I love comics. I love the form, the structure, the storytelling process, I love everything about it.

I don't think that scheduling is uncreative. I think that structure is required for creativity.

Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

The more you can create a structure by which people live in a fantastical situation and by which they will act, and the more you lay that out for the audience, the more they will feel at home in it.

One of the reasons I started working at 'South Park,' actually, was that I wanted to learn how to structure things and how to tell a story.

I found the structure of writing a screenplay harder than the structure of writing an essay. But it was definitely challenging to force myself to sit and write. I'm not used to having to force myself to work.

I believe in three-act structure. When I say that to novel people, or people in the world of books, they go, 'Well, that's a film thing.' However, even a good joke has three acts.

When you're learning, especially to write, unless you're some incredibly gifted writer, a young Malcom Gladwell, say, you need to be imitating people. You need to be imitating how they make their work, how they structure it, how they design the pieces. It gives you chops; it gives you moves.

Sondheim is my god; I love the man. I learned a great deal about writing from his work, his lyrics, and his structure.

I find it hard to write with writers sometimes because of their way of writing. Some are heavily focused on structure, but I have more of a 'Let's go with it' mindset. I like to be creative, and when I hear something that inspires me, I'll come up with a melody, a lyric to that melody, and take it from there. I try to keep it open.

When 'American Born Chinese' started getting a lot of attention, I freaked out a little bit because I realized that up until then I had just been doing comics by following my gut. I didn't really know much about plot structure or anything; I kind of just followed my gut.

With 'Pretty Deadly,' I think you'd be hard-pressed to find a three-act structure in it. I don't know - someone probably can.

Irvine is such a safe, stable, planned community, and I'm a person who has a lot of inner longing for drama and romance. So I think in some way the structure of Irvine made me more creative because I had these boundaries, and I thought outside them.

A recipe is not an exact formula, but it does need a certain structure. When the bones are right, you can dress it in many ways.

If you're writing a novel, you can afford to see where the spirit takes you, but in terms of structure and engineering with a screenplay, you have to be quite pragmatic; otherwise, it will run away from you.

Cage always wanted to know what my structure was, if I had one. I often did have some sense of the time structure. Then he'd make a different one for the music.

I seem to be constantly confronted by theater professionals who are more or less annoyed by the prospect of structure.

I do like structure, and I'd love to be better at it.

My first song was called 'Portrait.' It would just be poetry, and I really never understood how to write the structure of writing a song. I just knew the feeling, and I knew it was supposed to break and change at the same part, so that's how I write music.

If the chords change a lot over the course of a song, it's better to stay within the same melodic structure.