Quotes About Creativity

It takes awhile for writers to get to know actors rhythms, not just as actors, but what they bring to the characters. I think it takes a few episodes for the writing room to catch up to the actors and vice versa.

I love to see technology from a design perspective and vice versa. I am a 'Desigineer.'

I like to take a little of what I learned in fiction and apply it to documentary and vice versa.

The rhythm of sitar cannot be created with chords of guitar and vice versa as both the instruments have a distinct purpose in music.

Being a drummer definitely influences how I play guitar. And then piano influences drumming and vice versa.

I think writing and reading are completely synergistic; not necessarily in that one has to be a good reader to be a good writer or vice versa, but that they so inform each other.

It's a beautiful idea to focus on how everything is temporary and always in flux. It may feel bad now, but it will feel good later, and vice versa. To write about those things brings this satisfying feeling as a creative person.

Just because you have developed the craft on your instrument doesn't mean that you don't have the ability to be expressive emotionally on that instrument, or vice versa.

I am more than just one thing. I think my acting has helping my dancing, and vice versa. And I write.

Although all the good arts serve to draw man's mind away from vices and lead it toward better things, this function can be more fully performed by this art, which also provides extraordinary intellectual pleasure.

When I started out, everyone seemed to be adopting these names... Johnny Rotten, Sid Vicious. I wasn't really Rotten or Vicious or Nasty, so I wanted something a bit more funny - yet something that seemed real rock 'n' roll... something that acknowledged my ambition.

We're not doing anything vicious or doing anything hateful. All we're doing is writing music that's our truth. I don't think there's any karma for that.

Imagine if someone like John Lennon or Bob Marley, Sid Vicious, Picasso, whomever, were doing their work, and some corporation, some CEO, some branding entity was saying to you, 'Well, you can do that, but you've got to remove this aspect of your work.' There would no longer be that purity anymore.

It never ceases to amaze me that readers who are willing to suspend their disbelief when it comes to the motivation of a vicious serial killer get high and mighty because I have put a coffee shop where there isn't one. Er... it's a novel. I made one up. I'm allowed to make stuff up. I'd go as far as to suggest that I make stuff up for a living.

As a writer, you have to be mean and vicious. Use the pen as your gun. Sometimes the people you write about get hurt.

You either get to play a vicious mother-in-law who hates the bahu, or makkhis and naagins. There is no creative satisfaction in TV.

I'm not the kind of artist who can just gear myself to a particular radio format without looking like a fashion victim.

I want to create a platform for those people who want to come to this field. These people will face hurdles and problems that don't allow them to show their talent. So I want to make a platform that they can easily access, and then, at least, they won't be a victim of these problems.

My roots and Victor's are jazz, basically, but these two young fellows that we have with us come out of rock bands. And they're tremendously exciting players.

I often find myself quoting from Victor Hugo after one of my theatrical ventures. 'Now that my play is a failure,' he once said, 'I find I love it all the more.' I first quoted that after 'Square Rounds' at the Olivier in 1992.

When I was young, my favorite picture book was 'Fletcher and Zenobia,' written by Edward Gorey and illustrated by Victoria Chess. It's long out of print now, but its mix of macabre humor and 1960s psychedelia made it a perfect children's book for the times.

When it comes to designer, you can't beat Victoria Beckham. I love her stuff.

In January 1962, when I was the author of one and a half unperformed plays, I attended a student production of 'The Birthday Party' at the Victoria Rooms in Bristol. Just before it began, I realised that Harold Pinter was sitting in front of me.

Queen Victoria did not regard art, letters, or music as in any way springing from national character: they were something quite apart, elegant decorations resembling a scarf or a bracelet, and in no way expressive of the soul of the country.