James Spader Quotes

I'm not a craftsman of graphics or art or film. I'm more of an idea generator and manufacturer.

The way Pixar has always worked is that we think of an idea and then we make it. We don't develop lots of ideas and then pick one.

I got to do Disney Sunday movies. I got to do a TV pilot there. And it really helped me to realise that I needed to not just be a writer, but a producer, to see my work up on the screen the way I wanted it to look and play.

Most of the pilots I choose do not have high-concept ideas, so for me it's not the idea as much as the execution of the idea, and if the idea, like you take a bar in Boston, that's not a high-concept idea. But if it's executed well, it makes a great show.

Visualization is daydreaming with a purpose.

There's no possibility that foresight work will ruin my creativity. It goes to a different area than the creative wellspring of SF.

One of the things that's fun about TV is it grows, and you set goals and aim towards stuff, and one of the writers has an idea, and you say, 'Ooh, that's so much cooler. Let's do that instead.' It's so much more fluid and organic that way, and that's the most fun part about it.

Part of making TV is the process - you just have to churn it out.

Most ideas remain inside you for a while. You tell somebody when there is a spark or a thought, and leave it at that. You come back later, write down a few lines. I makes note in my mind on whether it can be made into a film or not.

I love the creative process - brainstorming and coming up with campaigns.

When you're pitching movies, sometimes you know what the idea is, but you fully don't know the dimensions of it.

I am constantly thinking of different ideas and formats for TV shows. I am in a place where anything is possible if you want to do it.

I like explication of ideas, even if I'm wrong or even if it's a struggle or if it's a work in progress.

Well directing TV is very time-consuming, so if you are going to direct TV, a season will take a year out of your life.

Imagination is really dependent on memory and observation, these things that we think of as part of nonfiction writing, actually.

The No. 1 thing you have that costs nothing is your imagination: role play.

A structured design approach can heighten the hit rate in the fuzzy front end of innovation processes in public and private sectors.

I was a playwright who was still learning the ropes when Starz took a chance on me to create and showrun 'Vida.' They nurtured and supported me during every step of the strenuous process, and that is a debt that cannot be repaid.

I think of myself as more additive than initially creative; I don't come up with the stories.

The thrill of doing television versus features is, in television, you get to focus more on the characters.

I have got a good imagination.

Nothing, believe me, nothing is more satisfying to me personally than getting a great idea and then beatin' it to death.

Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.

I do like the process of producing. Later in my career, like when I had the TV show, I was a producer and I've been on a few things.

The craft of putting together a performance on film or television is incredibly intricate; you're putting together a story that is completely out of order, that you have to make some sense of, that you have to keep some coherence to the story, to the character.