Quotes About Creativity

For an artist, there's nothing better than working with an orchestra.

Let me say that I've never thought to conduct because the conductor has to think to the music before the orchestra. And the orchestra comes later. For me, it's terrible.

The first nine albums there was never a Synthesiser, never any Orchestra. There was never any other player except us on the albums.

Why write for the orchestra? For one thing it's a very challenging problem.

The shows are so different from each other, depending on whether I play with my band, Nine Stories, other musicians, an orchestra, only one or two members of my band.

Not everybody gets to record with an orchestra, and not everybody that gets to record with an orchestra gets to write all their own stuff.

Whenever I listen to a children's orchestra, I learn. They feel everything, they enjoy everything, they have amazing energy.

I love working with an orchestra, but there are many ways to make music.

You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.

I feel I'm most successful when I'm playing a concert, and it doesn't necessarily seem like I'm playing a saxophone but am coming off more like an orchestra or something like that.

People talk very much about, 'What can we do with the orchestra in the 21st century?' We should think about the 21st century, of course.

'Geronimo' was a huge amount of work. That involved 80-piece orchestras and Indians and Tuvans and all kinds of crazy people on that thing. That's a real circus, that score.

I played in orchestras all through high school and taught myself how to play guitar.

I used to sing classical music to the flowers in the garden and imagine they were all different parts of the orchestra. It used to really annoy the neighbours.

We're more about other things over odd timings: orchestration, composition, horn/vocal arrangements - that's where we get super weird.

I can almost see the music. It comes in the form of colors - colors jump out at me, and that translates into notes. They come fully formed: the orchestration parts, not just the melodies. Even though they're not always the right ones to use, the initial idea comes like that.

I don't play beats. I hate playing beats. I'm an orchestration drummer. I'm a musical drummer.

I've learned a lot from the masters of orchestration, like Ravel and Stravinsky.

When I came to New York, I told everyone I was a writer/director, and they said, 'No.' There was a rule. You could be one or the other. They ordained me writer. But then I won the Obie for directing 'Spunk,' and the rules changed.

Just as our eyes need light in order to see, our minds need ideas in order to conceive.

That's what keeps me going: dreaming, inventing, then hoping and dreaming some more in order to keep dreaming.

This has always been a motto of mine: Attempt the impossible in order to improve your work.

You have to have a cultural ethic that allows for making mistakes. It cannot be that just because you make mistakes, you're out. You have to make mistakes in order to innovate.

I think in order to keep America great, we have to keep America creative.