Quotes About Creativity

That first writing session, what Dan Hill calls a creative blind date, is always a real challenge, and you bring that back to your partner when you return to writing with them.

I think if one wants to be in a continual state of insanity one should stay married to that writing partner.

When I did 'Bumble-ardy,' I was so intensely aware of death. Eugene, my friend and partner, was dying here in the house when I did 'Bumble-ardy'. I did 'Bumble-ardy' to save myself. I did not want to die with him. I wanted to live, as any human being does.

I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone. There's an amazing interaction with the audience that happens because they are very much another scene partner.

I think you can write very good comedy without a partner, but what I love about it, working with a partner, is that you get to places you'd never get on your own. It's like when God was designing the world and decided we couldn't have children without a partner; it was a way of mixing up the genes so you'd get a more interesting product.

When you have a writing partner and you're writing a comedy, your goal is to make each other laugh.

My partner, Danny Strong, came to me with this idea of telling a story about my life and merging that with music and the hip-hop world. He wrote 'The Butler' and originally wanted to do 'Empire' also as a movie.

My writing partner and I usually write separately, because if we write together we are liable to go a little nuts. The person not at the keyboard can start to feel disenfranchised to the point that they sometimes make a lunge for that accoutrement of computer power, the mouse.

Friends don't necessarily made good business or creative partners.

It's really lonely trying to build something by yourself. It's good to have thought partners to bounce ideas off of.

I would like to think that Ben and myself have begun a partnership that will take us into different areas of music that we can continue to write, enjoy and keep me involved with music other then what I do with RUSH.

I don't want to create music or do a partnership because of the money. I don't want to be money-influenced.

It is none of anyone's business how I make my films or my creative partnerships.

People do ask, 'Are you going to embellish this stuff?' I wouldn't change any of my guitar parts.

I think I'm always subconsciously trying to write the ideal school play. Lots of parts for everybody, great parts for women - don't forget, more girls try out than boys in the school play; everyone gets to be in the school play.

I'll write lines or words in a notepad. You work on little things and little parts; sometimes they turn into bigger songs.

There are so many amazing parts to life, so many amazing things to write about.

I want good and different parts, different from what I've done.

The good parts are the people who don't make do. They're the interesting people. Lear doesn't make do.

I wouldn't be creatively satisfied if all we did were sequels, but in the same breath, I'll say that I wouldn't be creatively satisfied if everything was an original. It's good to use the different parts of my brain. Very different rules apply.

When I'm making music, I can hear all the parts, all the instruments. I can hear what it should be.

I think the challenge for an actor is always to see which parts of you you can explore and go have fun with.

With drama, you need to be laughing, in between takes, 'cause you're going to those recesses of your soul and those dangerous parts. Normally, if you're not an actor or some crazy artist, you don't feel the need to run around in those areas. You keep them separate because it's painful.

It's not like I'm writing full songs or full parts and setting it aside for Slash because, generally, I like him to make the first move and hear where he's coming from and what his concepts are, and then I build from there.