Colleen Atwood Quotes

To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'

Without my husband's costumes I wouldn't have known how to accomplish what I saw in my own mind's eyes for choreography. And then seeing our choreography and knowing the background of it I am sure helped my husband a great deal with what he designed for us.

Costume design is so important and really helpful, and I really love that aspect of character development, just figuring it out.

Nothing can ever be a rule in drama, because then you're saying certain things won't ever happen, and that would be very boring.

A film is a great deal about what you see, and the silhouette of a character tells you a lot. I'd love to go into film costume.

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

That's the great thing about being a writer. You dream up amazing questions... and then dream up even more amazing answers.

I try not to picture a reader when I'm writing. It's like trying to make a great table but not picturing anybody sitting at it.

You never know what an artist is going to create next.

Art is not predictable. Art is not golf, as great as that may be. There are 360 degrees of choice to make.

I understand, as an artist as well as a producer, the need for there to be mystery and surprise.

It takes great skill to tell a compelling story in under 60 seconds. These five directors have mastered the format, using their talent, craft and imagination to provide us with some of the most innovative filmmaking out there today.

I've always been somebody who, when I started a picture, never knew what the next picture would be.

As a director, you try to find what is creative.

I'm trying to do the kind of projects that I want to see in the theatre.

A great artist is a great man in a great child.

But I'm never gonna get to a point in my life where what it costs to shoot a movie is going to determine what it is. The limits of my imagination is the only thing that's gonna stop me.

When I write a story, I have no idea what I'm doing. All I know is that I want to share something with my readers. The whole idea of writing is this place where you lose control, where you're irresponsible - it's a very liberating place.

I went to school for clothing and textiles and thought this is what I was going to do. Then I started working in costumes and literally said, 'I don't know if I can take the actors.'

The great liberty of the fictional writer is to let the imagination out of the traces and see it gallop off over the horizon.

Sometimes I can see the whole painting from the outset in my mind's eye. But more often than not, that idea doesn't last the duration of the painting. Sometimes it comes out easy, just as I had envisaged. But that is reasonably rare.

There was always that thing with 'Johnny' - I always saw myself as his writer and PR. But when he got out there, I had no control. His whole thing was going off on those flights of fancy. Going, 'Let's see what we can possibly do that hasn't been done before up here.' And when it works, it's lovely; it's a great night.

The great thing about animation is it's like the radio. I used to do lots of radio when I was a kid, and you get to play parts you would never get to play ordinarily.

Human nature is not amenable to prediction based on the trends or tendencies prevailing at the time. It is amenable to startling creativity of the kind practiced by great artists, directors, writers, musicians, actors, who know how to touch a chord in humans everywhere.

I never 'say' anything in my work. I invent a world. Let others decide what is being 'said'.