John Howe Quotes

You can never tell when an artist really will take up someone's work and work with it happily.

Created stuff is meant to be shared. That’s why the creative person created it. Why else do creative people exist?

That's what I've always wanted to do - work with my favorite writers and make something from scratch with them that we can feel like didn't exist before we came in the room.

'Guava Island' is the end result of four incredible weeks spent in Cuba with some of the most inspiring creative talents I've ever met.

When I work with Future, it's almost like a work of art.

Ultimately what I try to do is work on stories I love with people I admire, and sometimes they get made and sometimes they don't.

For the last 10 years, I've been working with Donald Glover and Ryan Coogler, and we've put down so much time really trying to make the best that we can, whether it's a movie, a film score, or a song.

Whenever I've done jobs, whether it's an acting job or writing job, there's an aspect of it that feels like you help build your piece of it, and then you watch as someone takes it, and they finish building it.

Really, I am entirely material driven. If a project appeals to me, I will try to find the right writer and director. And that may be someone I've worked with before, or it may not. It may be a woman, or it may not.

But mostly, I wrote songs and Viv wrote songs.

Sometimes I get a little tired of it. But you know, what a privilege, to get tired of working with Ingmar Bergman.

I actually like the collaboration of working with different artists.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

What goes on between the actor and director is sacred.

The creation is a very internal process, and publishing the book is a very external process. It is nice to see the book out in the world and people having the same reaction as when I created it. The point of all art is the emotional transference, and when that happens, the book has succeeded.

One does not set out with the idea that I've just had a great idea and now I'm going to go and carry it out. Almost all art that's made like that doesn't go anywhere.

Balancing an illustrator and author can be tricky, but I was an illustrator mostly before I wrote my books.

The great thing about movies is that they're collaborative. And the worst thing is that they're collaborative.

I'm a comic book writer, so I work with a lot of artists. Sometimes, you get art back, and you're like, 'Oh, no.' Sometimes, you get art back and you're like, 'That's exactly what I imagined in my head,' and you're happy about that.

Books choose their authors; the act of creation is not entirely a rational and conscious one.

I truly believe that cinema is a collaborative effort, and as long as I get to tell, and be part of, interesting stories and work with genuine people, I don't see any project as a 'risk.'

When I'm in a session with an artist, my job is to help execute their vision - so it's whatever story they're telling, and the news doesn't specifically affect that.

Working with artistic people is very special, especially when they are so professional.

I was attracted to Joe right away. He was and is one of the greatest cartoon artists I've ever met. I was able to do the timing, and Joe with his draftsmanship could make the storyboards. There were things I could do that he couldn't and vice versa.

On 'Cardamom,' I had pretty much total control on all of the musical stuff, but I asked a friend of mine to take the picture for the cover, and I asked a friend of mine to draw the back.