Tina Fey Quotes

When a picture isn't realized, you pitch it in the fire and start another one!

To be fertile in hypotheses is the first perquisite of creativity and to be willing to throw them away the moment experience contradicts them is the next.

You know, people sometimes say to me, 'Do you prefer to do this or that, act or do stand-up or write' but the thing that I enjoy most is the difference between all of them, because you're always learning. I don't go around thinking of myself as a great anything. I'm actually lucky to have the chance to fail at all of them.

We have the script, we have the actors, and we're trying to figure out what this is, and you don't know what it is. You have to be open to what it's going to become rather than have this thing that you're trying to get to, which is boring.

I always say that I'll have a go and see whether the poem works and if it does, then fine.

You have to have an unlimited imagination, an unlimited restraint on your inhibition when you're working. You have to even dare to fail, even in a scene, whatever it is.

Sometimes with Polaroids, the shot you want to get in your head doesn't happen. What it makes me do is be patient, I guess, or let go of that presumption of what the shot's going to be.

My idea of artistry has always been 'try everything until you find out what works.'

I think the philosophy will continue to be what it always was; which was, let's keep throwing a bunch of things at the wall, and see what sticks.

Don't be too precious or attached to anything you write. Let things be malleable.

That's just a part of being an artist: you can't write great stuff all the time, because if you did, then you'd be inhuman. The human side of people is that sometimes they fail.

I've never really had a certain style of music in mind that I make, or am really adamant on how something should sound, but I like the process of not knowing, of just seeing what happens and what comes out.

You're not always going to hit the bull's-eye. I'm going to make movies that work and I'm going to make movies that don't work, and that's just a part of being creative. Because really, I think if you're taking risks and you're pushing yourself and you're doing things that scare you, you are going to fall on your face, and it's not always going to work.

One day when I was studying with Schoenberg, he pointed out the eraser on his pencil and said, 'This end is more important than the other.' After twenty years I learned to write directly in ink.

Try any goddam thing you like, no matter how boringly normal or outrageous. If it works, fine. If it doesn't, toss it. Toss it even if you love it.

What I've learned from sketch is you can get it as perfect as you want, and it's never going to be perfect.

I go into the whole composer thing quite open to keep on going and keep on trying different things because you never know... the next idea you have might be the one.

Part of being innovative in government is sometimes not trying to plot out the last chapter of the book, but to be open and see what comes back.

I come in. I'm going to sketch, I'm going to drape, I don't know what I'm going to do.

Life is painting a picture, not doing a sum.

You have to be able to fail with the improv. You have to not care.

It's very important to understand that we never do the same thing twice; each of our projects is unique. We'll never do another 'Gates.' Each project is a unique image. We do not know in advance how the work will look. I do preparatory drawings, but they are only projections of our vision.

I have always believed that it's important to show a new look periodically. Predictability can lead to failure.

You know, I've released some great records and I've released some dogs. But frankly, the fun is in creating the thing.

An open-minded and diverse population that readily shares information, encourages experimentation, accepts failure and dispenses with formality and hierarchy is what makes Silicon Valley the successful hub that it is.