Vignesh Shivan Quotes

The biggest takeaway for anyone seeking to write is this: don't go looking for the way other authors do their work. You won't find many who are consistent enough to copy, and there are enough variations in approach that it's obvious that it's not like hitting home runs or swinging a golf club. There isn't a standard approach, there's only what works for you (and what doesn't).

The process depends on the situation, and I don't think there are any two songs that have gone exactly the same way... well, actually, that's not true.

I like many different things you know so I'm probably going to experiment, and if I didn't I'd be a little bit strange and boring and stiff and kind of dead, and I'm very not that.

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 like doing everything. That's why I came to Pixar, as opposed to Disney or any other studio - it's small. At the time I started, I was, like, the 10th person in the animation group, and we all had to do everything. That's the way I like it, keeping it fresh.

I don't know if my hairstyles reflect that, but I am someone who enjoys change.

All questions of process require an answer that begins with a very important sentence, and the sentence is: 'Everybody is different.' Whatever way of working you name - methodical, haphazard, gets up early in the morning, sleeps all day, works at night, revises immensely, never revises at all - someone has made great work with that way.

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

My style evolves day by day; I love change.

I love doing projects that flip my last project on its head. And I love the challenge of taking on different characters.

The idea is to resist being typecast. I like doing different things.

It doesn't matter what I use. It can be anything. What's interesting is how what I'm doing meets with the stuff I use.

You can’t learn your craft by copying me or anyone else. I hope what I do can do is in some way inspire others but I would be appalled if I thought my work was being studied as ‘the right way to do the job’. My way is just one of an infinite number of ways to do the job.

Don't be too precious or attached to anything you write. Let things be malleable. For sketch writers, remember they're called sketches for a reason. They're not called oil paintings. Some of them are going to stink. You have to let them stink.

I studied structured improv, where you start from one position and see where it takes you. I like spontaneity. If you set yourself up to do the same thing every night, you may not connect as well to a different audience.

I enjoy changing; I think it's more fun to try something different than to just do what you did last time.

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.

I found the recording sessions very freeing because you can really try things. When you're filming something, if you're improvising a film and you're wasting film and wasting a cameraman's time.

Mr. Freeman: You are getting better at this, but it's not good enough. This looks like a tree,but it is an average, ordinary, everyday, boring tree. Breathe life into it. Make it bend - trees are flexible, so they don't snap. Scar it, give it a twisted branch - perfect trees don't exist. Nothing is perfect. Flaws are interesting. Be the tree.

All my other movies have the same process. Same approach. Same amount of changes. Everything. Things being made up on the fly. Changing things around. Firing and recasting. Constantly, constantly, in chronological sequence, not really knowing how this is going to end up. That is the only dogmatic approach I take towards everything.

I always have a feeling you should move the playing field and the minute you know what you're doing, you're wrong. Therefore, I wanted us not to try to follow Spamalot immediately, but to do something different. This is perfect because it uses all the same skills, like story telling and lyric writing and music writing, but it's presenting it in a different form. And of course it gives me and John a nice chance to perform and show off which is also fun.

Painting to me is constant searching. I can see what I want, but I can't get there, and yet you have to be open enough that if it goes another way, then let it go that way.

If you get stuck and it feels a little stiff, then you do have to mess it up to find it. But other times it's really written and you just stick to your guns and do it as elegantly and as concentrated and as committed as you can.

There's a lot of different ways of going about teaching acting and ultimately you have to just kind of create your own. You have to be the author of your own acting school in a way. I mean you can take from this and this and you can watch people and you can watch performances on the stage. You can watch movies. But ultimately you have to figure it out for yourself.

Imitation always stinks. When I take photos, I don't go back. I don't look at the past. I'm always original.