Quotes About Creativity

I think what we're talking about is a sense of fashion as laboratory work. I mean, we are not scientific, of course, but we are looking for ideas all the time.

That's what I think when people do their "best stuff" collection. When you start to think, "Oh, I will just present my 10 years of work," that's not a good sign.

I can do my part of the storytelling. I can carry it. I can paint it. I can maneuver it. I can massage it. But if I don't have anything to work with, then there's nothing.

I love Malcolm Lee and jumped on the opportunity to work with him as a director.

I would still encourage somebody, if they wanted to make a movie, to just go take a movie camera. That's clearly been shown to work. It's just how do you get it seen?

Part of the work of writing a novel is to uncover the symmetries or connections that make it whole, which might not reveal itself at first.

I'm a quiet person, I'm not a flashy art world person. I'm in the studio in the middle of nowhere. There's sheep and fields. The work has to be authentic in that way.

I felt like I had reached the end of a period of life, where the work was jumping about and pushing something new every time. I wanted to dial it back and create a language that was stable and deep.

To tap into that natural creative spirit, recapture your childlike enthusiasm for everything around you. Work with the reckless delight of a child.

Your hopes and dreams, as well as your perception of the world around you, come through in your work and make it unique.

I try to procrastinate, if I can, productively, like I'll work on something else as procrastination. Or I take a walk. Because often I find, if you get out, more things come to you.

Everybody believes in innovation until they see it. Then they think, 'Oh, no; that'll never work. It's too different.'

Songwriting is something I really need to work on. I don't have very many songs but I really love it. I would love to be a great song writer some day.

I work with a lot of movie stars.

I wanted to work with Bert Lahr [the 'Cowardly Lion' in 'The Wizard of Oz'], and I did.

I tell myself that, regardless of what source I draw on, I'm writing a new work for reasons peculiar to me and not an adaptation, and so feel, in the end, justified in singing it my way.

I don't see why escapist literature shouldn't also be a work of art.

If there are moments in my work when people find joy and humour, that's a real success for me.

Of course, all my work is photographed and I also take quite a lot of photographs of work in production.

Obviously, I don't make an entire edition all at once, so the studio often goes back to produce editions, but that's a bit different. I guess I'm always thinking about the next work.

I tend to work towards specific exhibitions, so there will often be a big push towards the end when we're finishing off a bunch of stuff.

Dancers are a work of art - they are the canvas on which their work is painted.

You make a horror film that's not very good. You'd be joining a long line, in a long video aisle, of stuff that doesn't work.

The key is to work with people who are passionate about storytelling and who have a similar sensibility of the type and nature of the stories that you want to tell.