Quotes of All Topics . Occasions . Authors
Today, there are over 7,000 languages spoken throughout the world. They may sound different, but in every case, they're drawing on the same regions of the brain. If you had told me that stone-tool-making had something to do with our ability to speak, I would have said you've got rocks in your head, but the latest studies indicate that once Homo erectus got creative with stone, our brains were on the way to inventing the most powerful tool of all: language.
Be very careful that you do not unconsciously assume that nervous tension is power. This is vital. Watch yourself the next time you work toward some goal. Look very closely to discover tense feelings and nervous thoughts whirling around inside. Do not let them deceive you into assuming that they are creative forces; they are not. They are thieves of genuine powers. As always, your awareness of their thievery is your first fine step toward casting them out.
J.C. [Chandor] was the kind of energy we were looking for, so we decided to get behind it with all of our effort. That was the beginning of our relationship with first-time feature directors, and that's when it became really important to us, watching them thrive and grow in a creative environment in which you can do that was really key. Also his work checked all the boxes, because it was socially relevant and intellectually driven, and creatively exciting.
Life is infinite energy coupled with limitless creative imagination. It is the invisible essence and substance of every visible form. Its nature is goodness, truth, wisdom and beauty, as well as energy and imagination. Our highest satisfaction comes from a sense of conscious union with this invisible Life. All human endeavor is an attempt to get back to first principles, to find such an inward wholeness that all sense of fear, doubt and uncertainty vanishes.
My advice to young people in the wrestling business would be to repeat such questions to yourself as: "How am I standing out? How am I getting recognized? How am I getting over?" And if you don't have definitive answers for doing those things, you are doing it wrong. It is, essentially, on them. There is no right way to do it, and that's one of the great things about this business because you can be creative. People who say they have it figured out are wrong.
Who will free me from hurry, flurry, the feeling of a crowd pushing behind me, of being hustled and crushed? How can I regain even for a minute the feeling of ample leisure I had during my early, my creative years? Then I seldom felt fussed, or hurried. There was time for work, for play, for love, the confidence that if a task was not done at the appointed time, I easily could fit it into another hour. I used to take leisure for granted, as I did time itself.
There's not one way to direct a film, there are so many different ways to do it. Everything affects the way it turns out in the end. Even the smallest things. You don't want to really acknowledge that, because you want to believe that you are the only creative asset as a director. You want to believe you're the only one. But I really feel that everyone teams up and everybody really affects everything. Actually, it's the closest I will get to playing in a band.
In the future, I just think that as far as when it comes to me and my music, I'm trying to help be the catalyst for whatever is going to inspire more people and keep a great creative community going. Whatever I can do to make everyone's records better, not just my own, just hopefully keep the whole flow of stuff going in a good direction. That's what I'll be doing, so look forward to whatever I'm involved with it and hopefully I can inspire the next generation.
The wonder is that the characteristic efficacy to touch and inspire deep creative centers dwells in the smallest nursery fairy tale-as the flavor of the ocean is contained in a droplet or the whole mystery of life within the egg of a flea. For the symbols of mythology are not manufactured; they cannot be ordered, invented, or permanently suppressed. They are spontaneous productions of the psyche, and each bears within it, undamaged, the germ power of its source.
When I need inspiration, I usually go into a creative "slump" and become a total sloth. I watch a lot of movies, read a lot, go see shows, and go for walks. I don't really touch my instruments because it's like I'm collecting data. I love film. I love reading. Those two mediums are often more inspiring than listening to an awesome record. Seeing what somebody else is doing in another field, it's like, "Wow! That's amazing! I want to be amazing at what I'm doing!"
For the most part, 99 percent of jazz is boring; you've heard it before. People aren't doing anything creative that's extremely modern. They tend to always be like "Let's do a tribute to Miles Davis!" All the new albums are tributes to history. It becomes too much at a certain point, it leaves us waving like "Hello? I'm alive, I'm here!" You know? So I really do feel like it needs some spice, it needs to be relevant to today's times, today's people, today's sound.
That's the one thing I say about the great British shows. You know, I see it on the series on HBO where the season is shortened to like 12 or 6 or whatever it is. You know there's a reason why there's a quality behind that. Because I think the writers as well as the crew and the cast do get burnt out after doing continuous episodes after and over and it feels like a factory rather than something of a creative process. And we get tapped out. That's just my opinion.
I really love any and all manifestations of art, really respect any kind of artistic impulse, whether it's paintings and sculptures or really good filmmaking or music. I really see the relationships between these different mediums as very fluid. I think you see that nowadays, in this postmodern context, there's much more use of different mediums in contemporary art. For me, if you're a creative person, you can choose to make a painting, you can choose to make a film.
It's not the norm when creators have any protections with regards to creative control. And so it took some time, I think, for the strip to gain enough popularity where I had enough leverage to come in and say, "It has to be done in a certain way or it's not going to be done at all," and then have people willing to put up with that who were ultimately paying for it. You know, for them to be willing to kind of concede those kind of things. It just takes time, you know?
The preliminaries were out of the way, the creative process was about to begin. The creative process, that mystic life force, that splurge out of which has come the Venus de Milo, the Mona Lisa, the Fantasie Impromptu, the Bayeux tapestries, Romeo and Juliet, the windows of Chartres Cathedral, Paradise Lost - and a pulp murder story by Dan Moody. The process is the same in all; if the results are a little uneven, that doesn't invalidate the basic similarity of origin.
There certainly are situations where I feel not empowered or uninspired. Particularly when the person's agenda is to intimidate through abusing their position or their authority. When I am present and in a nonreactive state, then I can become like snake and slide through their "intimidation net" back into the creative plane. When I am in a reactive state, I usually regret responding, because usually all that happens is that the intimidator feels righteously vindicated.
What's so great is that we're making money for AIDS in Africa. There's a lot of love and spontaneity, we're doing something creative. That's what I love about Red. It's not just a charity, "Give us money, give us money." It's being innovative. Like here's a show that you won't see anywhere else and you can come and whatever you pay for your ticket it's going somewhere. You can go and buy a pair of Armani shades, like Bono, but the money goes to Africa. It's quite cool.
If we have come up with a creative decision and somebody comes up with another idea, you do have to get into the depths of it and ask: "Is it a better idea? Or is it a different idea?" That can be hard. But that's the type of conversation the director and I will have, or as part of our creative groups. So with that in mind, it's hard to keep a budget in line. It's like in life, if you've ever built anything for the first time you're usually better at it the second time.
Norway is much more than just oil. We have a rapidly growing fish sector, a high-tech metal and aluminium industry, abundant access to green hydropower with all the opportunities that provides, an educated workforce, and an incredibly potent welfare system where people are allowed to contribute with what they have and what they know. And if that is not enough, our potential has perhaps even been limited by the oil sector draining all the intellectual and creative talent.
People call what we do "stretch music." This is our style, and one of the newer, in vogue ways of playing creative, improvised music. It really grew out of me trying to address something that I saw in my everyday life in my neighborhood - trying to develop that and refine that and excavate exactly what that was in a way that, when I communicated it, it was palpable and easily read. That started really early. Why it started was from something that I was really angry about.
In the early days the Cubism' method of grasping an object was to go round and round it. The Futurists declared that one had to get inside it. In my opinion the two views can be reconciled in a poetic cognition of the world. But to the very fact that they appealed to the creative depths in the painter by awakening in him hidden forces which were intuitive and vitalizing, the Futurist theories did more than the Cubist principles to open up unexplored and boundless horizons.
You aren't always going to make stuff that everybody does. The sooner that you just realize that and accept that, the better. At best, hopefully, you will like it, every time, and that might not even happen. It's the nature of your work. It's just what comes with it. So, it makes it easier to deal with anybody criticizing you or anything thinking you're wonderful when you realize that you just need to focus in this one area, which is your creative fulfillment and enjoyment.
Here is Max De Pree at his best, and that is very good indeed. In Leading Without Power, De Pree shows us why we cannot master the how-to-dos of effective leadership without also being clear about what leaders?and followers?must be. In doing so, he not only provides us with much practical wisdom about creative leading and organizational health, he also nurtures our souls. This is a book to be savored by all who care about such things as vision, faithfulness, trust, and hope.
So, as you can readily see from what I have said thus far, a creative, active, sensitive, accurate, empathic, nonjudgmental listening is for me terribly important in a relationship. It is important for me to provide it; it has been extremely important, especially at certain times in my life, to receive it. I feel that I have grown within myself when I have provided it; I am very sure that I have grown and been released and enhanced when I have received this kind of listening.
We have to acknowledge that we can't look to manufacturing or natural resources to drive growth like we have in the past. Human capital, talent, and knowledge are our most important resources now. Every city has hidden seeds of opportunity waiting to be nurtured. Places like Detroit, Cleveland, and Pittsburgh are among my favorite cities. They have great universities, clusters of innovation across a range of industries, and pools of innovative and creative talent to build on.
There is rarely a creative man who does not have to pay a high price for the divine spark of his greatest gifts... the human element is frequently bled for the benefit of the creative element and to such an extent that it even brings out the bad qualities, as for instance, ruthless, naive egoism (so-called "auto-eroticism"), vanity, all kinds of vices-and all this in order to bring to the human I at least some life-strength, since otherwise it would perish of sheer inanition.
In those who rest on their unshakable faith, pharisaism and fanaticism are the unmistakable symptoms of doubt which has been repressed. Doubt is not overcome by repression but by courage. Courage does not deny that there is doubt, but it takes the doubt into itself as an expression of its own finitude and affirms the content of an ultimate concern. Courage does not need the safety of an unquestionable conviction. It includes the risk without which no creative life is possible.
Every successful man or great genius has three particular qualities in common. The most conspicuous of these is that they all produce a prodigious amount of work. The second is that they never know fatigue. And the third is that their minds grow more brilliant as they grow older, instead of less brilliant. Great men's lives begin at forty, where the mediocre man's life ends. The genius remains an ever-flowing fountain of creative achievement until the very last breath he draws.
Auto da Fay reveals the trickles of a creative sensibility that later became a tide, but essentially, Weldon the writer emerges only at the very end of this volume, in conjunction with her finding and marrying her husband of 30 years, Ron Weldon. In this sense, it is half a memoir, the private background story to the public future. (...) The reader is forced to re-evaluate the spectacular weirdness of Weldon's fiction: having lived such a life any other kind would seem insipid.
The brilliant creative core of capitalism ... is the story the entrepreneurs and capital investors tell themselves about the future. How they intend to alter it, what they expect to gain in return, where they will raise the capital to accomplish their vision. Many of their stories turn out to be flawed or mistaken, of course, but the capacity to envision a set of future events and then act to fulfill them is a central source of capitalism's strength and its dominance of society.
The Universal mind is not only intelligence, but it is substance, and this substance is the attractive force which brings electrons together by the law of attraction so they form atoms; the atoms in turn are brought together by the same law and form molecules; molecules take objective forms and so we find that the law is the creative force behind every manifestation, not only of atoms, but of worlds, of the universe, of everything of which the imagination can form any conception.
I think enjoying each other in a creative way is usually a result of when you're doing something that might be problematic - might be a little difficult to uncover. I've done it once in a stage production; we came in for two days and, just as an experiment, the director had us reading each other's roles. You hear another voice interpreting a line that maybe you were having trouble with. It can be very helpful. But we weren't really in the kind of situation where that was necessary.
I'm convinced that business success in the future starts with the question, What should I do with my life? Yes, that's right.... People don't succeed by migrating to a "hot" industry (one word: dotcom) or by adopting a particular career-guiding mantra (remember "horizontal careers"?). They thrive by focusing on the question of who they really are--and connecting that to work that they truly love (and, in so doing, unleashing a productive and creative power that they never imagined).
The creative process for a musician is very different than for a filmmaker. I have an idea and I can pretty much execute it. As old as I am now and as long as I've been doing it, I can pretty much get it done in a week. While a filmmaker has a great idea that should be out tomorrow, but he has to go through this process of getting financing, then selling it, then casting. I've always been in awe of filmmakers and their patience in realizing their vision because I could never do that.
From the almost total absence of fossil evidence relative to the origin of the phyla, it follows that any explanation of the mechanism in the creative evolution of the fundamental structural plans is heavily burdened with hypothesis. This should appear as an epigraph to every book on evolution. The lack of direct evidence leads to the formulation of pure conjecture as to the genesis of the phyla; we do not even have a basis to determine the extent to which these opinions are correct.
Hearing, seeing and understanding each other, humanity from one end of the earth to the other now lives simultaneously, omnipresent like a god thanks to its own creative ability. And, thanks to its victory over space and time, it would now be splendidly united for all time, if it were not confused again and again by that fatal delusion which causes humankind to keep on destroying this grandiose unity and to destroy itself with the same resources which gave it power over the elements.
When you have creative people, you have to let them do their thing. You have to resist the urge to be too efficient, you have to resist the urge to work to a certain budget and schedule - other than the fact that things have to end. It's harder work to produce this way but my philosophy is that you have to let it be creatively chaotic and let it find its place. When creative people are on to something, you know it and you have to allow it to happen. You can't set a schedule for that.
To look deeply into the lawn and see six shades of green - there is hardly that respite for you. And that's our job that we're doing. And it's even more demanding for someone like yourself, who is so extremely creative. But you have to move forward. You cannot just wallow or sit back and take in the accolades. They're wonderful, the accolades, and you appreciate them. But then you go on to the next moment. You have to always be going out to the end of the diving board and diving off.
Our biggest challenge in this digital age that we are entering is how do we effectively begin to train people for the jobs that are going to exist and not have them be stuck on jobs that are going to go away? And this is a big deal. And it requires the businesses of this country to, in my opinion, first of all, demand changes in the education system and also develop innovative, creative ways to have industries train people for the skills that are necessary for the jobs that are coming.
I'd say my relation to being a woman is, I mean being a woman is whatever you want because the concept of gender is not really real, you know? And so for me it's about being comfortable in myself. It's about allowing myself to express who I am in any way that I want to, whether that be through my clothing, the way I present myself to the world, whether that be through like my gender identity and my pronouns. It's just really about allowing yourself to really be expressive and creative.
The model we established was to give creative people complete creative freedom in exchange for betting on themselves, so they work for the minimums you're allowed to work for, and if the movies work in a big way, everyone does very well. If the movies don't, nobody loses too much money. The benefit to doing all the movies low budget is we can tell different types of stories and take creative risks. The Purge would have been irresponsible to do for $20M, but to do it for $3M makes sense.
Let man only approach his own self with a deep respect, even reverence for all that the creative soul, the God-mystery within us, puts forth. Then we shall all be sound and free. Lewdness is hateful because it impairs our integrity and our proud being. The creative, spontaneous soul sends forth its promptings of desire and aspiration in us. These promptings are our true fate, which is our business to fulfill. A fate dictated from outside, from theory or from circumstance, is a false fate.
This needs to work on that level, but it has the additional strain of it's going to be profoundly scrutinized by political junkies from the right and the left who will pick apart every little thing. We are inherently dramatizing Hillary Rodham, or Hillary Clinton, who's a very famous figure. There's a lot of biographies about her, but there's also elements that are private moments, that are dramatized with an arc, and we have to take creative license. Everything is sort of a cost-benefit.
Trusting people to be creative and constructive when given more freedom does not imply an overly optimistic belief in the perfectibility of human nature. It is, rather, belief that the inevitable errors and sins of the human condition are far better overcome by individuals working together in an environment of trust and freedom and mutual respect than by individuals working under a multitude of rules, regulations, and restraints imposed upon them by another group of imperfect individuals.
TV shows are great right now in America. I find myself - and I hate to admit it - but we watch more TV than we go to the movies. As a creative person, you want to be creative, you know? You don't want to constantly wait around - a lot of movies fall apart, or there's just not as much out there as there used to be. Or there are more actors. I don't know. But movie stars are doing TV. And when they're asked about it, they say they love it. Dustin Hoffman, Glenn Close. So it can't be that bad.
What I see is trying to make sure that everybody thinks you have more than what you actually have. What’s the point if you actually don’t have it? If you don’t have it, then you don’t have it. Have what you have. Enjoy that . . . The craft is everything. Don’t be afraid of not being the wealthiest person in the room. Be the smartest person in the room. Be the slickest person in the room. Be the most creative person in the room. Be the most entertaining person in the room. Just be in the room.
You must have a room, or a certain hour or so a day, where you don’t know what was in the newspapers that morning, you don’t know who your friends are, you don’t know what you owe anybody, you don’t know what anybody owes to you. This is a place where you can simply experience and bring forth what you are and what you might be. This is the place of creative incubation. At first you may find that nothing happens there. But if you have a sacred place and use it, something eventually will happen.
When you depart from standard usage, it should be deliberate and not an accidental lapse. Like a poet who breaks the rules of poetry for creative effect, this only works when you know and respect the rule you are breaking. If you have never heard of the rules you are breaking, you have no right to do so, and you are likely to come off like a buffoon or a barbarian. Breaking rules, using slang and archaic language can be effective, but it is just as likely to give you an audience busy with wincing.
Freedom is only to be found where there is burden to be shouldered. In creative achievements this burden always represents an imperative and a need that weighs heavily upon man’s mood, so that he comes to be in a mood of melancholy. All creative action resides in a mood of melancholy, whether we are clearly aware of the fact or not, whether we speak at length about it or not. All creative action resides in a mood of melancholy, but this is not to say that everyone in a melancholy mood is creative.
The impresario function is about intervening with the company's more administrative management structure. It is about trying to establish a sense of boundaries and budgets and milestones and so forth on a project that does not necessarily lend itself to milestones. It is about translating between the intimate interior environment of the creative work team and the company's need to make money. And finally, it is about positioning the fruits of the creative process in the marketplace and selling them.