Neal Adams Quotes

In two days, it's hard to to get the quality you would normally want for a design project.

Most film teams usually come with a tight deadline, which doesn't leave us much time to compose.

If you're working on something and it's not coming together, it's easy to say, "I don't want to show this, until I've figured it out." But a lot of times you don't really solve the problems, and then you start getting into a bad situation because you don't have the time to fix it.

I usually work on a film soundtrack for two years, turning in a song every few months, and that keeps my creative energy high, because I'm constantly rotating projects. The trick is to make sure I don't work too hard and get exhausted.

I work best after the deadline has passed, when I'm in a panic.

It's different for every project. Some parts are quicker than others to get and know; sometimes right up until the last moment you're just praying that something will click. But you can only do a certain amount of work and then at some point you've got to think: 'OK, I'm just going to have to leap now.'

I was shooting the third season of 'The Big C' and doing 'The Normal Heart' at the same time on Broadway, and I thought, 'I'll never do anything as difficult as this.'

My novel, which I had started with such hope shortly after publishing my first book of stories, wouldn't budge past the 75-page mark. Nothing I wrote past page 75 made any kind of sense. Nothing. Which would have been fine if the first 75 pages hadn't been pretty damn cool.

There's that old cliche that art is never finished, only abandoned. That's the nice thing about comics. It forces you to abandon it long before maybe you're ready to let it go.

But the longer I'm in the business, you see a lot of times these screenplays have been rewritten 5 times and you're not really offending an author.

When I was snowed under with the work of an idol, I didn't have time to think.

U2 albums never get finished. They just get released.

I'm like any other composer. If you give me five years to write a symphony, I'm still going to be asking for more time two days before it's due.

I was notified on July 17 to be ready to start August 7 for an October air date. When we reached the screen we did not have a single segment ready. It was done so fast the writers never got a chance to know what it was all about.

That was, in writing the 'Twilight' script I had about five weeks to write that. I'd taken about a month to write the outline and then it was slam into a script and write it down fast because the writer's strike was looming.

Because of the nature of monthly comics and deadline, I pretty much have to work on whatever's on fire, I'm afraid.

Most of the things I've had a producorial involvement on began as things I was going to direct, or I set out to direct myself and realized either I don't have the fire in my belly to do it, or I don't feel like I've licked the story enough.

One of the main things I do is focus on ideas and what stories we decide to tell, but probably the biggest part of my job I'd say is working on the storyboards.

I write synopses after the book is completed. I can't write it beforehand, because I don't know what the book's about. I invent something for my publisher because he asks for one, but the final book ends up very differently.

I may not want to write every day, but I have no choice - there are deadlines to meet.

You know Washington. If the deadline is midnight, they'll start working on it at 11:30.

I've always figured the only way I could finish a book and get a plot was just to keep making it longer and longer until something happens - you know, until it finds its own plot - because you can't outline and then fit the thing into it. I suppose it's a slow way of working.

I always write three or four projects at the same time. They're stories that I want to tell, and usually I dump them unfinished for the next one in order not to get too cornered and depressed about it.

There are problems in doing television that have been plaguing me for years. I really like to have a lot of time, to rehearse and make things as good as they can be, but television often doesn't allow for that.

It's weird writing for a documentary because I have all these ideas for what I want to happen, but what actually happens is obviously completely different.