Golan Levin Quotes

I've worked with people who wanted to be creative every day: it was like a goal to arrive with something very special. Sometimes it's just disturbing, because special is good when it's needed. But when it's not needed, it's confusing, and you go away from the authenticity by a strong desire to be unique and singular.

My route is a little bit nontraditional. A lot of the people working in Nashville, they have a model. I don't really fit into that.

I want to see creativity that breaks boundaries and isn't just about money.

To be a film-maker, you are almost forced to be surrounded by contradictions... You must have talents of so many different kinds - talents that are contradictory.

Acting's such a good job in that you're stimulating and pushing yourself constantly. I'd never want to do anything comfortable.

It was awesome working with Miley. She's a visionary and she's a creator and has a lot of ideas.

Prince Paul's one of my teachers. He's always been one of my main inspirations as far as interludes go and getting a little quirky at times.

I actually work better within restrictions. When you leave everything wide open, things tend to get a little convoluted. So when you give me those restrictions and I start to use my brain creatively to work around those, that's when things get interesting.

Other people might buy a Rolls-Royce. I'd rather encourage people to be creative.

Sometimes you get ensnared by an idea, and it's what I call 'the sticky burr': You go hiking, and a burr sticks to you, and that's the film you're going to make.

My parents encouraged me to be creative by being creative and interesting people themselves, and by making it clear how highly they valued creativity in others.

I think it's an important part of the visual effects supervisor's job to get really deeply embedded in production and keep us all focused on trying to generate the best result. I'm not proprietary about, 'I would rather do this effect than let physical effects do it.' No, let's do the smartest thing for the movie.

I always imagine, and try to be on the lookout, for new things, for references that can inspire me creatively so I can showcase things that people haven't done before or that are new.

That word 'fantasy' - I hardly ever hear it in the world of design. And that's very strange. You should hear it a lot. I think fantasy is a very important value that designers and artists should bring to the world.

Everyone is super creative in the family.

Somebody once asked me, 'What do you do?' and I flippantly answered 'I'm a cultural engineer.' With hindsight, I kind of am - but if I got too self-conscious about it, it wouldn't work.

The way creative people live is different from people who don't do anything creative.

I tend to gravitate toward people who are a bit more eccentric and creative and artistic in some ways. And I like bringing disparate kinds of creative people together to create some great work, even to share points of view on a new direction.

I was just a very creative kid.

I really want to be creative. I want to innovate. I want to be innovative, and I want to do things that are different.

You don't have to compose a masterpiece every time, but I think the challenge of art is always searching for something different, searching for a new sensitivity, a new perspective, a new vision.

People in the industry know that FTII students have a different and an honest approach towards work. The place gave me a voice and the ability to see things from a different perspective.

I want to interact creatively with the directors I work with - it's a thrilling way to work.

Creativity requires novelty. Imagination is all about counterfactuals and untested possibilities that don't yet exist.

Artists are those people who sit at the intersection between the known and unknown, the rational and irrational, coming to terms with some of the confusing histories we, as artists, deal with.