Quotes of All Topics . Occasions . Authors
It is true that ADs do not get a chance to get a chance to create or produce, almost never, because it's whole separate thing. Most creative producers you have to come up on the development side, you work with agents, you work with writers, you're in the office and then the AD's are on the set. But it's a real shame because part of - no decision in producing can be made correctly unless you have all the creative information you need but you also have all the budget and scheduling information you need.
We need to find ways to transform the more than 60 million service jobs, which make up 45 percent of U.S. employment, in the same way - rewarding workers financially, encouraging and empowering creative participation, creating professional communities, and so on. We can look to any number of new companies - from Zappos, to Starbucks, to American Apparel - for examples of how this idea might play itself out. We need to do more to make service jobs into higher-paying family-supporting jobs of the future.
I'm one of those guys who will drink to, uh, kind of celebrate. I don't drink too much when I'm down or anything like that. But you've really got to be, I guess the word that came to mind is "creative," about the way you're celebrating. You want to keep the celebration going. I've learned that lesson over and over. Here on the road there's a lot of cause for celebration, but you just gotta get the damper out a little bit, and you want to keep that governor on. You want to keep your give-a-shitter in kick.
Mostly every form of American music is dead. It's been dead. R&B isn't really good. You got a handful of great guys - Ne-Yo, R. Kelly, Usher. You have a handful of great female artists. But for the most part the music world's changing and change is good. You have to make adjustments if you want to survive in that world. You start to thinking about creative moments - bliss. When everything was all good. You realize that in comparison to the way hip-hop started off, where we should be at right now is not there.
I think the tools were always available, for decades and decades, to make your own film and be creative. I don't think people had to wait for YouTube to do this type of small project. YouTube, I think it's great. I have this idiotic satisfaction. And I think there's a bit of that in YouTube. You share, true, but it's centralized, and it's already sort of controlled. I'm more for something that's not a centralized medium. Like doing your own film and screening it yourself. You cannot control people doing that.
My painting technique has not changed that much over time, although perhaps I am painting tighter and with more detail, in spite of a desire to loosen up and paint more expressively. One thing that has changed is my daily routine. I used to paint quite late into the night. It was a time I felt the creative spirits most active. As I have aged, my circadian rhythm has changed. I like to paint early in the day when I can avoid falling into the soul-sucking email world. Early dawn feels very similar to late night.
You know, it's not my film [Valerian], it's really their film. It's very strange. And maybe because it's more when you comes to the Marvel films it's way much more organized and plan, you know, they planned. Okay, we have Thor here, we have this and then we do The Avengers, and then we group. You know, it's much more organized. So maybe there is a little less freedom at the end for the creative people. Where I did the entire opposite. I let them help me, you know. So that's also why maybe they were so involved.
I only worked on that one movie, but then quickly realized that the path of being an assistant director was not gonna get me to producing. It's a different path coming up through production management and then line producing. So I basically was in the position where I was going to take any job that felt creative, like the one I got, which was reading scripts and writing coverage. So even though I was taking a job where I was making less money than the job immediately prior, it seemed like the right thing for me.
And ultimately, it's good for all of us to have more original programming on the air. Business doesn't drive the creative. So, in identifying a project like Dovekeepers, looking at something like Extant and looking at Under the Dome, it was about falling in love with a piece of material, getting excited by the creative direction, hearing a vision, and getting excited about the potential for those projects and building the business model around it. And they're not all modeled the same way. Every one is different.
A Machine to Make a Future is an insightful and creative contribution to the literature--both scholarly and journalistic--on contemporary genomics. By 'experimenting' with narrative genre, the authors hope to generate different insights into the world of genomics and biotechnology than ones generally presented in existing accounts. They succeed at that goal, providing an account that is ethnographically rich and analytically open to a world whose structure, implications, and outcomes are very much in the making.
When I started doing improvise music in Europe, in the beginning I thought the way that Europeans were interpreting the reconstruction of deconstruction of this thing that we call jazz - of course it's different than what Americans do, because Europeans have a different history, a different sensibility and so forth - the nature of the creative process itself it's the same; but what comes from that creative process is different, because you have a different history, you have a different society, different language.
Because of watching your breath and thoughts you have come to know now that you are neither thoughts nor your breath, you are the watcher, the witness. This is awareness. This is what I call meditation. Once you have known this awareness you are unidentified with your body, with your mind. Now you experience a vastness inside you, in one sense utterly empty and in another sense overflowingly full. Because of its emptiness you will remain calm and quiet. And because of its overflowing fullness you will be creative.
Society of leisure perhaps? Indeed, the most remarkable aspect of the transition we are living through is not so much the passage from want to affluence as the passage from labour to leisure. Leisure contains the future, it is the new horizon. The prospect then is one of unremitting labor to bequeath to future generations a chance of founding a society of leisure that will overcome the demands and compulsions of productive labor so that time may be devoted to creative activities or simply to pleasure and happiness.
Michael Jackson really turns my life and changed my creative process as well. "Keep On Loving You" really honors him and honors my relationship with him so much so that the family, the estate and Sony Music gave me permission to use footage from our time on tour together in my new video. I am just so, so honored that they sought to do that because they didn't have to do that at all. It's a brilliant gesture because they realized how much he meant to me. When you hear the song and watch the video, you'll get that too.
Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.
80% of all products and services that will be on the market in five years do not exist today. So therefore, always be innovative, always be creative, always think, 'What new products or services could I create, could I represent, could I joint venture?" Sometimes you can find someone else that has a fabulous product or service that you can use your existing business or resources to sell and you can double your income or sales in your business by selling somebody else's product to the same customers that are buying yours.
You cannot persist in wanting what you already have. If you assume you are what you desire to be to the point of ecstasy, you no longer want it. Your imaginal act is as much a creative act as a physical one wherein man halts, shrinks and is blessed, for as man creates his own likeness, so does your imaginal act transform itself into the likeness of your assumption. If, however, you do not reach the point of satisfaction, repeat the action over and over again until you feel as though you touched it and virtue went out of you.
Ashton Ford will come as something of a surprise to those of you who have been with me over the years. This is not the same type of fiction that established my success as a novelist; Ford is not a gutbuster and he is not trying to save the world from anything but its own confusion. There are no grenade launchers or rockets to solve his problems and he is more of a lover than a fighter. I have grown, I hope, both as a person and as a writer, and I needed another vehicle to carry the creative quest. Ashton Ford is that vehicle.
Every single human being is creative and maximizing that creativity is critical to happiness and economic growth. Economic growth is driven by creativity, so if we want to increase it, we have to tap into the creativity of everyone. That's what makes me optimistic. For the first time in human history, the basic logic of our economy dictates that further economic development requires the further development and use of human creative capabilities. The great challenge of our time is to find ways to tap into every human's creativity.
When people in my generation started to write, we did not actually have much of a movie industry, much of a theater scene, much of a television industry or other creative outlets. But we had a lot of aspiring writers. All that has changed. We now have a movie industry, television industry and lots of theater. But we have retained a large contingent of writers and a dedicated readership. The larger number of people in society who value writing, the larger number of good writers will be produced. That's my belief. It raises the bar.
Human social life, I suggest, is the magma that erupts and builds up, so to speak, at the fault lines where natural human capacities meet and grind against and over natural human limitations…. This meeting of powers and limitations produces a creative, dynamic tension and energy that generates and fuels the making of human social life and social structures…. It is real human persons living through the tensions of natural existential contradictions who construct patterned social meanings, interactions, institutions, and structures.
Yes, but I’ve already made my fortune in other things. (Solin) Such as? (Geary) Viagra. My brother learned to take a personal problem and profit by it. (Arik) It’s true. It pained me to see a man as young as Arik stricken with impotency. Therefore I had to do something to help the poor soul. But alas, there’s nothing to be done for it. He’s as flaccid as a wet noodle. (Solin) How creative of you to project your problem onto me. But then, they say celibacy is enough to make a man lose all reason. Guess you’re living proof, huh? (Arik)
It's a lot easier to make a living as a writer in Hollywood than it was probably 10 years ago, though there's still just as many unemployed people in Hollywood as there ever has been, but there's so many more avenues to sell things, because of digital, and Amazon, and Netflix, and all these different platforms. That's crazy and exciting in a creative way, and we'll see where that all stands five years from now. But on the corporate side, I still see that pendulum swinging back in that other direction, which is a little not comforting.
Christian apologists who argue that a story about an empty tomb is convincing evidence of a resurrected body are likely unfamiliar with Occam’s razor, which states that among competing hypotheses, the hypothesis with the fewest assumptions should be selected. They assume that the most likely explanation is miraculous resurrection through some unproven divine connection, but more likely scenarios include a stolen body, a mismarked grave, a planned removal, faulty reports, creative storytelling, edited scriptures, etc. No magic required.
I've noticed that as someone who has done music and creative things in Washington state and Portland, to kind of toot your own horn, or admit, "I'm going for it. I'm hustling," is not exactly the norm. Which is weird, because you go to New York, or LA, or anywhere else, you've got to be gunning for it - and you should be - you're part of a fast-moving stream of other people who are really ambitious. People move here to work less. So, to say that you're hustling all the time, and going for it, is kind of a little bit against the grain here.
This is a glorious biography ... The time is ripe for a new biography of Edith Wharton of this intimacy and on this scale ... Lee the biographer pursues her subject down every winding corridor, into every hidden passage and dark corner ... Her critical exploration of Edith Whartons work is dazzlingly assured ... A feat of exhaustive research, and finely tuned to Whartons creative achievement at the same time ... [Wharton] could scarcely have failed to be impressed by ... its artistic sympathy, its sonorous depths, and its soaring conception.
I can't let fear kill my creative brain. Fear is the killer. Your bad choices come from fear. And I'm constantly combating fear. I'm one of the most fearful people, which may be why I'm so sensitive about it. I combat fear, constantly. So, when something like this happens, it only makes us stronger, but it reminds you that your strength is by being able to fight that stuff off and being okay with failure. If I get everything I wish and I get to make movies for the rest of my life, I'm going to have many failures and I need to be okay with that.
There were obvious budgetary and time constraint differences. With Jamie Marks is Dead, we were operating on a pretty small finance level. So it was definitely run-and-gun, 16-hour days, every day. I would come back, and I was so exhausted I would fall asleep in my clothes. Obviously, with The Giver we had a little bit more time to take the full three months. So that was different, but in both there was still a creative environment, and by that I mean that it was still collaborative, performance was still valued, and it wasn't lost in the money.
In the course of my movies, the financing and the releasing were always the tough part. Because I loved the creative, I loved the writing, I loved the making of it. Because I guess, I never had the giant blockbuster, I never got that sort of ease for the next one. So the next one was always, "how am I going to do this?" And that thing was sort of always the thing that made me a little chickenshit to go into the next one. The writing of it was great and the making of it was great, but how am I going to release this thing and am I going to find a studio?
All I've learned is that you need the studio system sometimes, if your budget is a certain size, and other films you can do independently. When I think of a studio, I generally think of distribution. Since I'm a director, I have a similar creative experience on every film I do, because I can control that. But then it's a different film, I think, as it reaches the public, depending on the way it's marketed. I don't know. I haven't learned much of anything. Sometimes you need them, sometimes you don't. Sometimes they want you, most of the time they don't.
When you're working on a creative thing, everyone has an idea, and they're pushing it. The first time you work with anybody, you have to get comfortable with the way another person pushes hard for what they want. Familiarity breeds contempt, people say. But I've found, for creative things, familiarity breeds peace of mind, because you realize you know someone better. You trust each other. You know not to take things a certain way, or a wrong way. You get to where you don't have to waste quite so much time with diplomacy. Things are a little more efficient.
The church is like any large corporation in one respect. In its early days, either the early church or the early years of Microsoft, you see all kinds of creativity, innovation, invention, people have nothing to lose, they're trying to find what works. Then you wake up and you're a vast enterprise, and it's very hard, when you have all kinds of buildings and structures and hierarchy and so on, to hang on to these very creative impulses that helped you get your great success in the first place. As a church we're going to have to figure a way out from under this.
In the end, there is no ideal condition for creativity. What works for one person is useless for another. The only criterion is this: Make it easy on yourself. Find a working environment where the prospect of wrestling with your muse doesn't scare you, doesn't shut you down. It should make you want to be there, and once you find it, stick with it. To get the creative habit, you need a working environment that's habit-forming. All preferred working states, no matter how eccentric, have one thing in common: When you enter into them, they compel you to get started.
The reality of television production now is that all the development money and pilot money now goes to the Internet so they can try to get pilots cheaper, than if they were producing them for television. I understand, it's a business, but what's great about doing it on the web, and one thing that attracted me is the amount of creative freedom that you do get with the web. That's the only advantage of there not being a lot of money involved, is that you're really able to write and do what you want... because there's not a lot of money involved and not money at risk.
Perfectionism doesn't believe in practice shots. It doesn't believe in improvement. Perfectionism has never heard that anything worth doing is worth doing badly--and that if we allow ourselves to do something badly we might in time become quite good at it. Perfectionism measures our beginner's work against the finished work of masters. Perfectionism thrives on comparison and competition. It doesn't know how to say, "Good try," or "Job well done." The critic does not believe in creative glee--or any glee at all, for that matter. No, perfectionism is a serious matter.
Lonesome Dove is a great book that had the rare fortune of being made into a great movie. And now, through Bill Wittliff's photographs, we have a third generation of Lonesome Dove artistry. The same creative power and conviction that allowed Larry McMurtry to transform a workaday scenario for an unproduced screenplay into one of the greatest novels of our time, and that transformed that novel into the greatest western movie ever made, are on display in this collection. A Book of Photographs from Lonesome Dove is a masterpiece begot by a masterpiece begot by a masterpiece.
I just enjoy the filmmaking side of things. I feel like when you're an actor, sometimes you're in other people's hands and they're in charge of your creative life. Whereas with my production company, I'm the one that gets to make those choices for how I'm gonna spend my time and what content I'm going to be creating. I definitely learn a lot, especially about acting, by producing and directing and seeing how it all comes together, and seeing the other side of things, appreciating what goes into pre- and post-production, and all those things you don't see when you're an actor.
A good collaboration I think it's really, truly a vibe thing. The people who are most excited about collaborations are people in the business, people who are thinking, "This is going to be great press," or, "This is going to expose you to all these people you haven't reached before." I prefer not to think like that. I'm more, if you meet the person, you like the person, you've talked to them, you feel connected, you feel like there's a creative exchange, then it kind of happens by itself. I'm open to it, but it has to feel right. If it feels forced, then I'm fearful of doing it.
I think the important thing about staying creative and staying sharp and original is not to look back too much, and to kind of look to where your vision is going now. But I have felt over the years a definite progression or arc from feeling guilty about what I had done with the first one, because certainly there was all that fundamentalist guilt that came pouring back in. Feeling like I'd done something horrible, "I'm a despicable person and I'm perverse," and all these things, to a sense of the power and the necessity, in a sense, of horror films and dealing with dark material.
I'm not prescribing non-doing as a universal response to our problems. Sometimes, something obviously needs to be done. And we retreat into a spiritual or meditative state that we fancy up by calling it mindfulness, but really it's an unhealthy detachment and a shrinking back from life. But culturally, it's much more common to be trapped in habits of reaction, whether on a systemic level or on a personal level. That's where the non-doing comes in, which is something that we don't really have room for. I think that it's something we need to embrace as part of the creative process.
Advocating the mere tolerance of difference between women is the grossest reformism. it is a total denial of the creative function of difference in our lives. Difference must be not merely toleration, but seen as a fund of necessary polarities between which our creativity can spark like a dialectic. Only then does the necessity for interdependency become unthreatening. Only within the interdependency of different strengths, acknowledged and equal, can the power to seek new ways of being in the world generate, as well as the courage and sustenance to act where there are no charters
Most comics are not truly rebellious or creatively free. Most comics, paintings, music, etc., are derivative of other, more successful works. And it's quite often that those without much rebellious spirit are the ones to imitate it. Genuine radical expression is hard to come by, but it usually crops up when money is not a motivating factor. You can take all the liberties you want when someone else's dime is not at stake. The validation is not a threat to comics. A far greater threat to the creative freedom of artists working in any medium is self-consciousness and self-censorship.
Jazz stopped being creative in the early '80s. After your acoustic era, where you had the likes of the Miles Davis Quintet, when it gets to the '70s it started being jazz fusion where you had more electronic stuff happening, then in the '80s they started trying to bring back the acoustic stuff, like Branford Marsalis and the Wynton Marsalis & Eric Clapton sextet. It started dying down from there. Miles was still around in the '80s and he was still being creative; he was playing Michael Jackson songs and changing sounds, but a lot of people were still trying to regurgitate the old stuff.
To me, music and songwriting is... part of the intriguing thing is the creative process; you know, the creative thought process. Relying on that... there is some sort of inspiration there and you can't always put your finger on where it comes from. So, it's always been important for me to have my own thing and, even though I'm inspired by and influenced by many different musicians and styles of music, I was very determined early on to have my own thing. So when I sit down to write I don't necessarily have a particular narrative or message in mind. I'm interested in language and in words.
I'm just as intrigued by acting as ever. It's an ongoing process. There's no arrival. There's no point at which you say "Oh, OK, done it, got it." It just doesn't happen. And that's true of any creative endeavor. For me, it's just a lifelong interest. I'm very much interested in the craft. I started by doing plays and it took me a long time to feel comfortable doing movies, working with cameras. I felt like I was a theater actress pretending that I was a movie actress for quite a while. Now, I just love the process of working with cameras and being on a set and trying to put a film together.