Quotes About Creativity

Franz Kline, who became known for his black and white paintings, did a whole series of gorgeous landscapes and wonderful portraits that may still hang in Greenwich Village.

Yes, in my books I do edit myself to keep from becoming the Village Explainer.

So, we just kind of created our own thing and that's part of the beauty of Athens: is that it's so off the map and there's no way you could ever be the East Village or an L.A. scene or a San Francisco scene, that it just became its own thing.

My art teacher in junior high was a very out gay man and a mentor to me. He would tell us about Greenwich Village and show us the 'Village Voice' and describe his life, but it was all sort of subversive and below the radar.

I went to an art school in Brooklyn and painted Fine Art, if that's what you'd call it for eight years in New York, until I saw the first underground comics in the East Village Other.

But in my imagination this whole thing developed and I started mixing up old folk songs with the Beatles beat and taking them down to Greenwich Village and playing them for the people there.

At 'The Village Voice,' there were all these fevers inside the offices, that would break out into full-scale rumbles between writers.

It is true that I am a writer, and I was married to a composer, and I have lived in a small village in New England, but my children are not named Heracles and Persephone, and my daughter doesn't disappear underground every six months and emerge in the spring.

My father came to Chennai at the age of 16 from a village in Coimbatore. He was an artist and was clear he wanted to do something, so he came to Chennai and joined an art course for eight years before he came into films.

I saw the Village as a place you could escape to, to express yourself. When I first went there, I wrote and performed poetry. Then I drew portraits for a couple of years. It took a while before I thought about picking up a guitar.

The difference that a drama group or a cinema club can make to a small village or a town. It opens people up to ideas, potential about themselves that really, in a way, education often fails to. It's a way of drawing a community together.

India is a land of plenty inhibited by poverty; India has an enthralling, uplifting civilization that sparkles not only in our magnificent art, but also in the enormous creativity and humanity of our daily life in city and village.

I love the village in my computer. There's little validation in the day-to-day life of a writer; sometimes we ache for a connection.

Of course, like all organic processes, there is an ebb and a flow to writing. One does not exist without the other. The writer needs to be vigilant in protecting both, confident in the knowledge that the village will be there when we choose, finally, to open the door.

So often at home in the West Village, I'm like, 'Why aren't I allowed a horse?' I would keep a horse in a stable in my apartment, and I would fit him with rubber shoes, and we'd just roll him out. If I needed to go to a meeting somewhere, I'd just get on my horse and go across town.

The beauty of soaps is that it takes a village to make it work, and you get to work with really hardworking people.

I did not become an actor to earn money - that I could have done it in my village by becoming a farmer. I wanted to show my craft, which I am so passionate about.

Being a teenager in a small Austrian village was not fabulous. I tried to fit in and changed myself to be part of the game. I now realise I can create the game.

I remember my father making many things. Once we made a shed, and a man in the village came along to help. After a couple of glasses of beer, he said, 'Give me a tape measure and I'll make it by eye,' and the result was so beautiful.

After tea it's back to painting - a large poplar at dusk with a gathering storm. From time to time instead of this evening painting session I go bowling in one of the neighbouring villages, but not very often.

Because I worked as a newspaper reporter for about 14 years before attempting my first novel, I learned to write under almost any circumstances- by candle light, in longhand, in African villages where there was no power, under shelling in Kurdistan.

So once I thought of the villain with a sense of humor, I began to think of a name and the name "the Joker" immediately came to mind. There was the association with the Joker in the deck of cards, and I probably yelled literally, 'Eureka!' because I knew I had the name and the image at the same time.

I've seen unpublished manuscripts where the writer doesn't know they are making fun of the villain - but they are. If you aren't afraid of your villain, how can your hero be afraid?

I went into writing 'The Young Elites' with a great deal of fear - I'd been told repeatedly that a villain's story would be far too dark for young readers to want and that no one would like my villainess, Adelina. I braced myself for epic failure.