Quotes About Creativity

I've come up through art school, through painting, through graphic design, through advertising, through TV commercials and music video. I've designed books, built billboards, matchbooks, corporate identities. I continuously paint, I've done conceptual art pictures.

I'm anti-social, and I don't have too many friends. I'm in my own world doing my own things - training in martial arts, dancing, or watching a Michael Jackson video.

I'm not a naturally funny person, and I also can't dance, so I feel like I'm lacking the key things that you need to make a good Tik Tok video.

When I create a song, I immediately think about what I'm going to wear when I perform that song. I think about the music video treatment and about how I'm going to look on stage when I perform the record. The connection is so obvious that it's a single package. An outfit, to me, is almost a tool to express the music.

So, there's only so much you can do with a rock video.

Back in the day people made music to go on tour. They didn't make music to make a video.

Anytime I shoot a video, I just think of anything I can do to set myself apart from everybody in the music industry.

When I graduated from college in early 2010, I decided that I needed to create a calling card, some kind of business card that people can link to my name and face. So I did this 'Mad Men Theme Song... With a Twist' music video. I released it just as I moved to L.A.

I can't drag myself away from 'Final Cut Pro.' It is a digital video editing system. I am obsessed with it, but I am always away from home, and I can't use it.

There's always apprehension whenever I launch anything, it seems. When I launch a tour, people are always, 'Oooh, is this gonna work?' And when I launch an album: 'Ooh, is this gonna work?' Or a new video. 'Really?' It's always like that - but I've always acted on the impulse that I have nothing to lose.

I came of age at the end of the 1960s, just when video was also coming into the world. Companies such as Sony and Panasonic were starting to market it and we artists immediately knew how it could be used.

Prince is my favorite ever. I've liked Prince since... It's been a really long time. Even in junior high. I used to only like punk for a while, and I had all these rules for what kinds of groups were cool, and who was not cool, but as soon as I saw this one Prince video... It just broke all those rules. I was like, 'I love this no matter what.'

I've always wanted to make a music video with skating and different imagery, something very artistic.

When I started working in film, I loved photography, I loved the image, I loved telling the story within a frame, but as I started playing around with film and video, it was like, 'Oh my god.' You just have so much more to play with.

My mode of presentation is short-form video - basically I create fast cut, impassioned 'idea explainers' that explode with enthusiasm and intensity as they distill how technology is expanding our sphere of possibility.

I studied photography at Bard, but I just felt tired of it. Someone asked me to be in a video but didn't want to be in it, so they told me to make my own, and that seemed more fun to me.

The natural creativity of the staff morphed 'The Daily Beast' very fast into what has become a newsroom. Aggregation lives on the Cheat Sheet, the video player, and in the breaking news slot in the first big box. The rest is all original, generated by Beast writers and editors.

I'm all about telling stories. I like people to picture the music video in their head when they're just listening to the song.

It's like everybody is shooting something, and everybody's a filmmaker; everybody can shoot a cat video and post it. So the big thing now is - for people that have talent and have something to say, and are creative, and are capable of making something good - is how do they get attention to it?

You never know how they're going to play out, but 'Pork and Beans' definitely had the same vibe as the 'Buddy Holly' video in that you just knew it was going to work.

Music video played a huge role in developing my sensibility as a director.

I just loved films. I knew I wanted to work on film, not video.

My brother Van got the computer first and showed me what it was like to edit video. I definitely credit Van with turning me onto filmmaking.

For video clips, you can always assume that there is a creative component since you are literally dealing with production values.