Kate DiCamillo Quotes

Anyone who does anything creative is always gonna want to change.

I consider creativity to be a more non-rational, subconscious thing. You have a relationship to your creativity - you can feed it with content, with some rational prodding and sleep and things like that, but the mechanisms by which your creativity work are largely unknown.

Every time I do one I feel like I've never really quite learned anything. I always find that when I'm making a film, I find it a little bit like I'm doing it for the first time.

I have learned throughout my life as a composer chiefly through my mistakes and pursuits of false assumptions, not by my exposure to founts of wisdom and knowledge.

I didn't think; I experimented.

The studio is a place where I can experiment before I'm prepared for an idea to become a body of work, or a new way of working, or a way of working that can sustain me over a period of time.

The ultimate point of a piece for me is that it drives the next one. Does it open new doors? That's the success of a piece.

The only reason you make a movie is not to make or set out to do a good or a bad movie, it's just to see what you learn for the next one.

I want to try it to see what it's like and see what my stuff looks like when I take it from inception to completion.

I have always just made things. I don't see what I make as being defined by a medium or aesthetic. It probably comes more from a fundamental restlessness, an attempt to create tools for questioning or understanding, and I have always been interested in using a wide spectrum of mediums to do this.

I believe sometimes we aren't always in charge of everything that we do creatively. We submit to things as we're going on our own journey.

That first writing session, what Dan Hill calls a creative blind date, is always a real challenge, and you bring that back to your partner when you return to writing with them.

We don't always know what we're doing. We often just get excited, put something down, and say, 'Oh, neat'.

My career has gone in such a way that I've gotten to learn that, when you're working with a great storyteller, you don't ask questions; you just trust them.

I'm just sort of making it up as I go along.

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

Arts and sciences are not cast in a mould, but are found and perfected by degrees, by often handling and polishing.

As a writer, you don't know what the hell you're doing. You're just doing it. You hope it works out well.

We have a process that continually looks back to him for guidance, but it also combines that with a tremendous amount of discovery and invention, as well, because of the demands of the medium and the opportunities of the medium.

I don't plan. I don't think, 'I have to do this kind of part 'cause I've done that kind of part.' I'm not a very good planner.

Brian Eno developed systems to keep himself on edge and to keep himself in a position where he's generating ideas.

Pure innovation is more gross than error.

That's what's great about the arts. Everything inspires you, and you get a chance to grow from watching other people and how they do their work.

I had no idea what I was doing when I wrote 'Search.' There was no carefully designed work plan. There was no theory that I was out to prove.

In terms of tackling different subjects, I can't really think of anything I wouldn't want to try; that's the fun of it right? Each new style brings new challenges - not that you shouldn't focus on one and master it, but it takes so long to make a film, you just want to have some variety.