Best 15702 quotes in «ideas quotes» category

When I first came out to L.A., Hollywoods idea of a Latina was Mexican. It was almost like they had never seen or heard of an Afro-Latina before.

When I finish a book, I get extremely restless; I have to aggressively find ways to occupy myself; going off into the woods alone, doing things that are physically or mentally demanding to keep myself busy until the next big idea comes.

When I go in to the recording studio, I already know almost exactly what I am going to do, but when I go to set, it is really a wildcard. I have no idea what is going to happen.

When I follow the finals of the European Cups, I look at all the aspects surrounding protocol, to get some ideas. I am interested in personalities, sponsors and the stands. But as soon as the whistle goes, it's all on the pitch.

When I get an idea I start at once building it up in my imagination. I change the construction, make improvements and operate the device in my mind. It is absolutely immaterial to me whether I run my turbine in my thought or test it in my shop. I even note if it is out of balance.

When I give over to somebody's vision rather than have an idea of what I need to do, it takes me to places I wouldn't have got to by myself. I'm always attracted to a strong director.

When I go back to family reunions everybody goes, 'Hey cousin! Hey Auntie!' And I'm like, 'Okay I don't know you, I have no idea who you are.' I am auntie and cousin for so many and even the ones in prison call me collect. And I'll be like, 'Which of my family members are giving you this phone number?'

When I first started making music, it was learning other peoples songs and putting them onto four-track. Like Beatles songs and stuff. When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas.

When I first starting making beats, I didn't know samples were being used in any beats. I had no idea where producers were getting the real string sounds or the voices on their tracks. I knew nothing about loops or sampling off of records. So, by me knowing nothing about this it made me concentrate on my chords on the keyboard.

When I get to the movie set, I don't need to have a sort of iron fist that a movie is about me and my ideas. A lot of filmmakers don't have that benefit, so when they have their moment to let all that creativity out of them, it's all about them. It's their movie; it's their thing.

When I go to another country, I try to be a big sponge and look at what the houses may look like and what colors predominate. I do not do research as much as just get ideas and ask people about things.

When I have an idea, I share it with everyone. People say someone will steal my idea, but it's not like I invented something that will replace the toilet. I tell people to get their feedback. Will they buy it, help me improve it, or tell me it's already been done? If someone else is excited, he or she might buy into the business.

When I have an idea, it goes from vague, cloudy notion to 100,000 words in a heartbeat.

When I have no idea, I gnaw my nails and invoke the aid of Providence.

When I joined the band I was coming largely from an improvising background, and the idea of a fluid rhythm that was really coherent attracted me.

When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic - here on Sixth Avenue, for instance - I don’t have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound... I don’t need sound to talk to me.

When I look around the world and think why is everything working or not working, it's because it's entrenched ideology. You can't solve a problem if you're sitting down with people who say, "All these ideas are off the table because of what I believe.

When I make films I'm very intuitive; I'm instinctive. When you are shooting there's little time to think about abstract ideas, it's about getting things done, getting them right, and trying to channel the energies and get the best of whatever you have on your set. It's only once the film is finished that it's like, "Okay, let's try to figure out what happened." Try to figure out exactly what I did.

When I'm a part of someone else's creative process, it's all about facilitating their ideas and hopefully bringing their perspective and making it a part of a song.

When I made the decision to transition, I honestly had no idea what it would be like for me to live as female. The only thing I knew for sure was that pretending to be male was slowly killing me.

When I made 'Hard Boiled,' I had no idea that it would be released to an international audience. I just wanted to make a film to team up my two favorite actors, Tony Leung and Chow Yun-Fat.

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

When I'm doing a drawing, I get lots of ideas I use them in my songs, even. I do a lot of drawings because that's where I get most of my spending cash and I just always have to have new records, to get something to satisfy my listening pleasure.

When I met with Peter Angell, the producer of the CD, we talked about my idea to do songs that I loved and songs that I wished I had recorded. Peter suggested that we pick some songs and see how they work with you and try to come up with arrangements and ideas about how you might want to do them.

When I'm in touch with the idea that there is a higher power and that there is, you know, other factors at work, it - it kind of quells my narcissism.

When I moved to SF in my early 20s, I loved it, but I was absolutely astonished to discover that people there hated L.A. I was just like why? Really? I had no idea.

When I'm looking for an idea, I'll do anything--clean the closet, mow the lawn, work in the garden.

When I'm playing music I'm usually not thinking of surfing, just because I'm usually thinking about the chords and the lyrics, and sometimes that messes me up 'cause you'll start thinking, "Wait, how am I doing this?" But when I'm surfing, I'm usually thinking about music - whether it's an idea for a new song, or just singing a song in my head.

When I'm making records, I don't go in with any intentional [ideas for] cohesion, it just happens by accident. That's the X factor; you can't predict that.

When I'm working as a director, I might have an idea of my own but I'm also trying to get great ideas out of my actors. Directing is much more psychological - it's a lot like being a general. And you have to be organized. While you're making a film, you have between 2 and 500 people asking you a billion questions.

When I'm shooting on location, you get ideas on the spot - new angles. You make not major changes but important modifications, that you can't do on a set. I do that because you have to be economical.

When I'm writing, those ideas are seldom inspired by music itself. I won't often listen to an artist and come up with an idea.

When I realized I could use Facebook as a way to communicate directly with my fans, I thought it would be a great idea.

When I paint figures it's never the idea of painting the beauty of the figure, it is using the figure to get across how I feel.

When I saw the sun bears at the Oakland Zoo, I immediately was drawn to them. Not to be ornery, but regarding what you said about the speaker identifying with the bear: I'm not sure it's exactly right to say that the speaker feels that the bear must share his sadness, or whatever else he is feeling. That would be classic pathetic fallacy, which is certainly generative for poetry, but here the speaker appears actually to be rejecting that idea.

When I say be skeptical of everything I mean it. Just because someone was elected to do a job doesn't mean that person has any idea of what they're doing.

When I sit down to write, I don't think about writing about an idea or a given message. I just try to write a story which is hard enough.

When I see people laughing at ideas and companies we have backed, I smile. It means we are going to make a lot of money on that investment.

When I speak or when I offer ideas and explain how the universe seems to work from the point of view that I've understood, it seems to give people a lift - an unshackling or freeing.

When I see the first dailies on any movie, I usually feel that I had no idea how this combination of ingredients was going to mix together, what it was going to produce.

When I settled to writing seriously, which would be in my 30s, I did expect to be published eventually, but my aspirations werent very high. A published book and a few appreciative readers was my idea of heaven.

When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.

When I start any book, I have no idea what I'm going to do.

When I started to work on perfume, I could not reduce the idea of a woman to one smell.

When I start on a film I always have a number of ideas about my project. Then one of them begins to germinate, to sprout, and it is this, which I take and work with. My films come from my need to say a particular thing at a particular time. The beginning of any film for me is this need to express something. It is to make it nurture and grow that I write my script- it is directing it that makes my tree blossom and bear fruit.

When I started dating I had this kind of Romeo and Juliet, fateful, romantic idea about love. It was almost that you were a victim - that there was a lot of pain involved and that was how it should be.

When I started Facebook from my dorm room in 2004, the idea that my roommates and I talked about all the time was a world that was more open.

When I started it still wasn't okay to be this age and still make this kind of music. And believe me, I consider our stuff to be much poppier than - we're not on like cutting edge, that kind of thing anymore. And even though we're not doing Britney Spears music or Nsync, it's still what I consider to be pop music. So that does give you a little bit more longevity, I guess. But if somebody told me I'd be getting up there and singing "Heartbreaker" at fifty I'd laugh. So I don't know, I have no idea.

When I started to make music at the end of the '90s, I saw myself highly influenced by hip-hop and techno, but I wanted to apply these ideas to something from the local sound; something that had identity, that would say who we were and where we came from.

When I started graduate school we did this publishing class where we learned about submitting and read interviews with editors from different magazines. A lot of them said they got so many submissions that unless the first page stuck out or the first paragraph or even the first sentence they'll probably send it back. So part of my idea was that if I have a really good first sentence maybe they'll read on a bit further. At least half, maybe more of the stories in Knockemstiff started with the first sentence; I got it down then went from there.