I do hope to inspire, I mean I live off inspiration and its the force that keeps me working, that keeps me creating.
Artists have a tremendous purpose in society, which is to continually expose, to continually challenge and to never stop producing. To never stop creating, no matter what.
The Western world, in spite of its advantages of mechanization and industrial efficiency is today in a worse mess than ever before in history. The adoption Western economic theory and practice will not help us in achieving our goal of creating a happy and contented people. We must work our destiny in our own way and present to the world an economic system based on true Islamic concept of equality of manhood and social justice.
Herzog and Malick both have this very unique naturalist intentionality to their process. It's about creating the mood, creating the focus and having discipline, but not prescribing what the performance was supposed to be. Neither of them are really directing their actors into a performance.
Creating a portrait of a female point of view in an environment that we've pretty much exclusively understood through a male perspective - "Wall Street," "Wolf of Wall Street," "Arbitrage" - etc. was beyond exciting for me. It felt downright necessary. And I felt really inspired by Alysia Reiner and Sarah Megan Thomas' agenda in telling these types of unique, feminist stories. [Both of them produced and acted in "Equity."]
I feel like so many people get into that place where creating for someone else is selling out and it is so not about that. It is a stupid, kind of pretentious way of thinking.
I've been with the project for like three years: creating it, pushing it. [There] becomes a certain doubt when you're pitching this story to people. ["The Land" is] a cautionary tale. It's not the brightest or best ending to a film when you're telling a cautionary tale about four kids, kids who are killing each other, kids who are products of the streets.
I feel like my dad was the more artistic one, creating his own thing, loving to be around people, and all this stuff, doing exciting things, and my mom was more of the performer.
For me, if folks who are watching YouTube can pitch in a bit to help cover the cost for creating this work, that's great, but I don't want folks who can't helped to not have access to it. I really like the crowdfunding model in that regard.
Ordinary Women was shot on a soundstage with a professional crew and a professional animation studio creating everything.
The other thing is that it's really hard to separate out the harassment from everything we do. When we started creating Tropes, we were hyper-aware of the intense scrutiny, the intense harassment, and the intense pressure to do something meaningful given the attention both positive and negative. That's carried over in terms of making sure that I produce the best work that I can, that's the most accurate, the most sensitive and engaged.
The hope that they have legs. That's the biggest fear you always have creating new people. You love them, but then they kind of dissipate. Sometimes you don't get to write them as much as you'd like, like me and Harper Row.
I feel like I've been becoming more and more like the city I had been living in and creating in.
As for climate change, it's by now widely accepted by the scientific community that we have entered a new geological era, the Anthropocene, in which the Earth's climate is being radically modified by human action, creating a very different planet, one that may not be able to sustain organized human life in anything like a form we would want to tolerate.
So "Grand Theft Auto," for those who don't know, is the video game series where players pretend to drive cars around these virtual cities, getting points for winning street races and killing people and generally creating mayhem. So, of course, we should make the robots practice driving in a violent, lawless dystopia.
Because my college was a local college, it had a historic role in educating minorities and the tuition increase was viewed as an obstacle in creating more opportunity for minorities. I threw myself info the protests with all my heart. Ultimately, a group of us barricaded ourselves in the school for about 3 weeks so we brought the running of the campus to a halt.
On a personal side, I found Bo Burlingham's Small Giants to be a great window into how business can be an extension of social change and the critical role the entrepreneur plays in creating progress in society.
Any leader has two jobs to do. To do what they are currently doing better and more efficiently (call this strengthening the core), and to do what they are not currently doing but will need to do in the future (call this creating the new).
In the strengthening the core job, a leader can draw on their past experiences. After all, in most cases they did the job of the people that are reporting to them! So they know when something is screwed up, they know the risks worth taking, and they know the corners to cut. But when they are creating the new, no one knows what the right answer is.
Creating the new increasingly is more than 50 percent of a top leader's job.
If you are trying to improve the performance of existing operations in known markets, it is an analytical problem where it's just a question of aligning your execution engine in the right way. If it is about creating something new and different, you can't derive the right answer analytically.
One of the biggest mistakes large companies make is creating innovation teams that mirror all the functions of the core business. Those teams make no progress because they spent forever updating each other on what they are doing versus really crushing the most critical problems they need to address.
Marx's own illusion was to think that the working class movement, which he devoted his life to creating and strengthening, would both be socially and politically successful in the industrial nations of Western Europe, and that it would develop an entirely new way of human social life that would retain and even enhance the productive benefits of capitalism while overcoming the inhumanity and exploitation of capitalist social relations. Marx himself had no solutions to these problems. His object of study was capitalism itself.
I think, something that you might be able to locate in the work that I'm creating today: the ability to look at a black America as something that not only can be mined in a very sort of cynical, cold way, but also embraced in a very personal, love-driven way; but also sort of critiqued.
I think that just the nature of art education in schools, it's about packs, you know? Like, we're young wolves running together, creating a consensus. And consensus is antithetical to the art process.
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