Quotes About Creativity

I'm always writing; I'm always jotting things down on paper or making notes in my iPhone. Then I'll make myself sit down and kind of shape it up, but there's really no other way to practice other than onstage.

I have files, I have computer files and, you know, files on paper. But most of it is really in my head. So God help me if anything ever happens to my head!

I've only wanted paper and beautiful colors. It was my dream, and it still is my dream. And books. They're all I need, and the rest I can do without.

'Ghost City' began as a idea. I felt that I hadn't read or heard a great deal about the sort of life that I thought I had, and I just thought that it would be interesting to sit down and see if I could put it down onto paper.

Sometimes things just fall out of your head on the paper, and if you're smart, you learn not to touch them.

The biggest influence on my books was the fact that I had worked in a newspaper for so long. In a daily paper, you learn to write very quickly; there is no time to sit and brood about what you are going to say.

Your hands are not made to type out memos. Or put paper through fax machines. Or hold a phone up while you talk to people you dislike. One hundred years from now, your hands will rot like dust in your grave. You have to make wonderful use of those hands now. Kiss your hands so they can make magic.

Not intending to be funny: I sit at the keyboard, put my fingers on the keys and go. To me, it's the real secret of writing. Put yourself in front of the screen or the blank sheet of paper and get to work.

I'll hear a beat and think, 'How can I make this a banger?' I'll write the lyrics on my phone or on a piece of paper, and either way, it's going to be a slapper.

I think I'm right-brained, incapable of managing my way out of a brown paper bag.

I was delivering papers when I was, like, 10 or 11, and I'd always daydream about being an artist as a full-time thing.

My high-school papers, my college-application essays, read like Norman Mailer packed in a crunchy-peanut-butter sandwich.

When you're making a film, you become incredibly close. It's not like you're filing away papers all day. You're creating with human emotions, so you do become very connected, so it is familial and romantic.

You can't really take it for granted that people listen to your music. I want to write songs that are on par, at least in my mind, with the ones I've loved for my whole life and that will be around forever.

The murals in restaurants are on par with the food in museums.

Reshoots are par for the course on any film. For me, I kind of love it because, as an actor, you always feel that there was a way you could have done it differently. Being able to go back and do some stuff again is always a blessing in my eyes.

I see fashion as going on par with all the other cultural institutions here. Ballet, theater, opera - I don't see fashion differently.

Most of the stuff I've written has never even gotten made. It's par for the course. It's a great living, but it also gets very frustrating.

I find that 'Taare Zameen Par' is one of the most beautiful movies ever made about the inner world of a child.

When I am writing anything in general, I just want to tell the story that exists in my head; I don't try to write a parable or make a point.

I used to be an obsessive outliner - figuring that writing without an outline was like jumping off a cliff and building a parachute on the way down.

Coldplay was big for me in the 2000s. 'Parachutes' was a good album.

I'm the happiest when I'm in the studio, not on a beauty parade.

You really do have the license during fashion week to wear the things that you wouldn't necessarily wear to dinner, because it really is a fashion parade.