Barbara Hepworth Quotes

I have never been able to write with anything more than the left hand of my mind; the right hand has always been engaged in something to do with personal relationships. I don't complain, because I think my left hand's power, as much as it has, is due to its knowledge of what my right hand is doing.

I think with my right hand.

When anything important has to be written ... I think your hand concentrates for you.

The hand that guides the brush has already caught and executed what floated before the mind at the same moment the mind began to form it, and in the end the pupil no longer knows which of the two-mind or hand -was responsible for the work.

I think there's something so wonderful about being part of the process from the seed of the idea to seeing it come to life on a screen. And to have a hand in that creatively, not just showing up as an actor for hire.

I think there are dozens or hundreds of different forms of creativity. Pondering science and math problems for years is different from improvising jazz. Something which seems to me remarkable is how unconscious the creative process is. You encounter a problem, but can't solve it.

Everything I do is a direct creation of my hands, whether it is made in wood, plaster or clay.

In contact with materials, I can see so much more with my hands than I can just with my eyes. I'm a participant, not a spectator. I see myself both as an object and a material, and the human presence is really important to the landscapes in which I work.

I think it's a big part of being a creative person.

If I have an idea I want to put in a movie, I know what camera will make that look best, and I have ideas for future projects and stuff I'd like to build for those. I think it's just part of how I work, though.

I so love the animation process. Interesting, everything that I do in animation, the kind of crafting and skills of storytelling, totally work within the structure of the Disney nature films. In a weird way, I like to think that animation is like painting, and Disney nature is like sculpting. Animation you start with a blank canvas and you paint. With Disney nature, you start with a big block of imagery and you hone it down into your final story. Somewhere you end up with something kind of pretty to watch.

Personally, I rather think that if you're not creative you've got a problem on your hands. If you are creative you've got a double problem.

We should learn to think with our fingers.

Solve problems, make art, think deeply.

One paints with one's head, not one's hand.

Design is a thinking process that starts in the head and with sketches. Thinking cannot be done by a computer.

I think I'm really drawn to filmmakers and artists who are kind of pathologically incapable of thinking straightforward about film, and about life as well, who cannot help but think laterally, think sideways about an approach to anything cinematic.

I do a lot of research, I try to think about how it relates to music and I just do a ton of drawing. It's much easier to work your ideas out that way.

Sometimes you're noodling around with a sketch and something incongruous in the drawing calls forth the caption and other times you think of a line and just have to find a place for it. A cartoon with a caption like "I don't want to live forever, but I sure as hell don't want to be dead forever either" sprang into my head and I just had to find the right venue for it which was an old couple talking to each other.

I discover that I am thinking about a play, which is the first awareness I have that a new play is forming. When I'm aware of the play forming in my head, it's already at a certain degree in development.

There's that weird and cool line that music can cross where it still gives you the goosebumps and you think it's cool but on the other hand it's sort of like also letting you off the hook a little bit with the ironic aspects of the thing. I think that's the inexplicable, the smell of a movie. That's the taste of the movie.

To be creative, a person has to internalize the entire system that makes creativity possible. Creative individuals are remarkable for their ability to adapt to almost any situation and to make do with whatever is at hand to reach their goals.

I'm not trying to spell out a story. I still think you feel the painting, and the reason you read the mark is because you also feel the mark.

The reason why Matthew Arnold, to my feeling, fails entirely as a poet (though no doubt his ideas were good - at least, I am told they were) is that he had no sense of touch whatsoever. Nothing made any impression on his skin. He could feel neither the shape nor the texture of a poem with his hands.

I think to be creative you have to resist taking the easy path.