Best 2135 quotes in «creating quotes» category

I turn on the machines and start to think about ideas and take it from there, it usually begins if it's a beat, a track creating a beat/beats and then the bass-line/lines, then comes the sounds--drones, atmospherics etc, then the edits of various sounds I created and keep going till I feel I have enough sounds ideas to start working and building a track. I have many banks of sounds that we hear that can be manipulated in the machines.

It was an image Melody would never forget. Or was it the emotions the image conjured - hope, excitement, and fear of the unknown, all three tightly braided together, creating a fourth emotion that was impossible to define. She was getting a second chance at happiness and it tickled like swallowing fifty fuzzy caterpillars.

It Wasn't Hard To Follow The Scent Of Blood To The Living Room Where The Fae Had Been Killed. It Had Been A Violent Death, Perfect For Creating Ghosts.

It wasn't the first time. This happened to Dennis Kucinich. It happened to Jesse Jackson. They did it even to Howard Dean, creating the Dean scream. This is how they [democrats] work.

It would be great if we had our own personal force fields. Just imagine creating your own architecture in your room. Buildings. You wouldn't have to spend all that time saving your money for that second house. You'd simply push a button and have as many houses as you want.

I use computers for email, staying current with my own website as well as finding important information through other websites. I also use it for creating MP3 files of new music I'm working on.

I use printers to make prints of the images that I am creating. And I try to have that surface kind of replicated in the painting.

I value self-discipline, but creating systems that make it next to impossible to misbehave is more reliable than self-control.

I've actually done more [music for] films than television. I love the process of writing for a film. I love that you are creating this suite of music for a film, that's all tied together sonically and thematically and hopefully people associate with the film. They all are meaningful to me in different ways.

I've always been creating my whole life, you know. I've just had a need to create, whether it was sculpting or writing or directing. It's just ever since I was a kid, I don't know.

I've always found that when you're trying to create illusions with sound, especially in a science fiction or fantasy movie, that pulling sounds from the world around us is a great way to cement that illusion because you can go out and record an elevator in George Lucas's house or something, and it will have that motor sound.

I've always had a creative urge and I get immense satisfaction from creating something because it feels like I'm making sense of the world and imposing order on it.

I've always had a talent for building businesses - and, importantly, for creating jobs. That's a talent America desperately needs.

I've always loved film and wanted to work in film. I just love working and creating new characters, and trying different genres and different things.

I've always loved the drama and the creating of a role and performance and all that comes with that, but I then also kind of like to have just the white picket fence life if that makes sense.

I've been creating work by silk-screening images of arms and legs and heads and objects on paper - like drawings of vegetables, guns, hats, whatever - and then also printing sheets of patterns, colorful polka dots and line drawing patterns.

I've been on sets where things weren't relaxed because someone was creating tension for no reason.

I've been really fortunate where I've made stuff that connects to people on a positive level, and that makes me feel really good, but I can't feel comfortable in dictating what they're supposed to feel out of it, nor am I a professional in something where I can really help people any farther than creating the things that I make to help myself.

I've been through legislation creating a dozen national parks, and there's always the same pattern. When you first propose a park, and you visit the area and present the case to the local people, they threaten to hang you. You go back in five years and they think it's the greatest thing that ever happened.

I've done a number of films. I've been around this. I think the biggest challenge is just getting the script right, the way that you want the script to be. It's really about capturing the complexity of emotions and creating the kind of characters that people will want to watch every week.

I've done seven movies in eight years, and with each movie I feel like I'm learning a lot. I'm still young-ish, so I still feel like I'm in the zone of learning and creating. Those are the perfect places to do that. And in a weird way, you have a lot of freedom.

I've got a great life. I'm in love, I have a happy, wonderful, beautiful time with my marriage, and I have a beautiful home. I want to spend time here working and creating.

I wait for the next opportunity to have something to do with food. If I get rested, my mind just starts creating new dishes - click, click, click.

I've sort of prided myself on playing characters with conscience. The first way I go about creating a character is looking at that area of conscience. What have they done, and what has it cost.

I've got my fingers in many pies and I'm very excited about creating stuff and watching it blossom and bloom and harvest it and get on with the next thing.

I very much want to be in the business of creating content, of doing stories all over the world rather than figuring out what the business model is for 'Newsweek' on the iPad, although that's very important work as well.

I view all art as an effort to translate brain concepts into a work. These brain concepts are synthetic ones - the result of many experiences. But a single work of art, or even a series of works, more often than not cannot translate these synthetic concepts adequately. Yves Saint Laurent once said that he suffered greatly when creating. He is not alone in that. Most artists do the same and say as much.

I wanna keep creating those situations for myself so I don't have to be out front all the time. Then when I do have to be out front, I can do it to the max.

I want to incite people to loosen their oppression by giving them something to work with, to build on. They shouldn't be frightened of creating themselves - that's why I make things very open, with things for people to do.

I want hard stories, I demand them from myself. Hard stories are worth the difficulty. It seems to me the only way I have forgiven anything, understood anything, is through that process of opening up to my own terror and pain and reexamining it, re-creating it in the story, and making it something different, making it meaningful - even if the meaning is only in the act of the telling.

I want people to understand there is a such a thing as creating a harmonious experience between the dogs and the humans.

I want to make sure that everything that I'm creating, I'm creating it so other people get enjoyment out of it. And that's the reward that you get for that.

I want to stress again that human rights are not peripheral to the foreign policy of the United States. Our pursuit of human rights is part of a broad effort to use our great power and our tremendous influence in the service of creating a better world, a world in which human beings can live in peace, in freedom, and with their basic needs adequately met.

I want to know whether you are a person devoted to creating or to exchanging in some respect or other: as a creator you belong tothe free, as an exchanger you are their slave and instrument.

I want to shine a spotlight on a new generation of women, who are creating, funding and managing some of the hottest companies in tech today. But I wanted to do more than share their professional stories. I wanted to share their personal journeys, too.

I was having problems with depression and anxiety disorder, and it felt like not blogging about it was creating a false history. When I did finally share the problems I was having, I was shocked - not only by the support that was given to me, but also by the incredible amount of people who admitted they struggled with the same thing.

I was always directing; even back when I started on stage. I was always throwing out ideas. I just love creating stories and for some reason people would listen.

I was always making things. I made model airplanes and did a number of hands-on activities. I liked creating in some form or another, not realizing what it was all about.

I was invited. Oxford University Press is simply as prestigious a press as there is so when they come to your door and invite you to be a part of something like this, you say yes. It truly is an honor to work with them, particularly on a project as large as this one. The story of how they came to me is a good lesson though about the unexpected and creating new opportunities.

I was worried that I, the artist Morimura, would have conflicts with the participating artists and develop a strenuous relationship with them. But the actual experience was completely the opposite. The artists accepted my requests rather positively, because it came from a fellow artist. I strongly feel that the fact that my being an artist avoided the usual curator vs artist tension, and led to creating a positive atmosphere as well as developing a solidarity amongst artists and building a community for artists.

I wasn't writing stories with the intention of creating a particular collection. I simply wrote stories, and then discovered common themes among a good number of them.

I was very much in my room with my marionette stage, you know, creating these incredibly boring things that I felt were so fascinating, and forcing my relatives to come, and charging money for them to see my little productions.

I was so lucky that I didn't have anyone to copy, be impressed by. I had developed my own style, I was creating before I knew there was a Thurber, a Benchley, a Price and a Steinberg. I never saw their work until I was around thirty.

I was trying to learn about Lyndon Johnson when he was young and creating his first political machine in the Texas hill country. I moved there for three years. You had to learn that world

I will cancel job-killing restrictions on the production of American energy, including shale energy and clean coal, creating many millions of high-paying jobs.

I would like to believe that crop circles are evidence of visitation. But there have been too many people who have admitted to creating these crop circles, and too many people who have shown how to make one on TV programs, so I have my doubts.

I work with structure, but I go outside the box and give it my own spin. I adore the challenge of creating truly modern clothes - where a woman's personality and sense of style are realized.

I wouldn't call myself a leader. I don't want to lead people, I want to tempt them, I want to create a new world for them, just for that very small moment, when they are losing themselves in my music. I want to inspire them

I would model well-being by presenting myself as a high-energy person who loves what I am doing and who is thrilled to be able to offer books, tapes, and products designed to make people feel good. I would explain that they are in a store filled with this kind of energy and that creating such a space is exactly why I got into the business in the first place. If you want to feel good, then my store is the place you should visit on a regular basis. I would stay very informed about what's out there and make sure I carry many things with very high energy.

I would like to try to understand what is. We know very little, and I am trying to do it by creating analogies. Almost every work of art is an analogy.