Jeremiah Brent Quotes

How are we going to make painters by lecturing to them? We are going to make questioners, doubters, and talkers. We are going to make painters by painting ourselves, and by showing the paintings of others. By working frankly from our convictions, we are going to make them work frankly from theirs.

So if I want to buy a light in a shop and I don't find a light that I like, I think to myself what would I like? What would I like to buy? Then I started to imagine and design it for myself a lot of the time.

I have been taking some classes in woodworking. It's really helpful just looking at a problem, and having a very tangible way in constructing it.

Studying engineering was natural for me; I was always interested in technology and building things.

A lot of mythology surrounds British inventor Geoffrey Pyke. He supposedly made people come to his bedside to see his designs because getting up and getting dressed took too long.

I was always waiting for the secret to be handed down to me. Ron Howard asked me what I was waiting for and I went, "Ron, I'm waiting to know the secret. I keep feeling there's some sort of secret that's going to passed on from a director." He went, "Oh no. There is none. You've just got to on and do it and make mistakes and figure it out."

Without being good enough, I started figuring out how to make my way through the minefield of a script, which is what it was to me at the time, and the rest is semi-history.

You can study orchestration, you can study harmony and theory and everything else, but melodies come straight from God.

Every Bass Communion track is based on a single sound source. Increasingly I find that I'm really interested in taking a particular sound and it's almost like solving a problem. If I have a sound, the problem is how can I create a piece of music from this one sound source?

All the best ideas come out of the process; they come out of the work itself. Things occur to you.If you're sitting around trying to dream up a great idea, you can sit there a long time before anything happens.But if you just get to work, something will occur to you and something else will occur to you and something else that you reject will push you in another direction.

Things that I have a hard time being able to fully grasp, sometimes writing the poem helps me work through it. Or I get to the end of the poem and I still haven't figured anything out, but at least I have a new poem out of it.

Scientists study physical things, then describe them; engineers describe physical things, then build them.

I started out making furniture because I couldn't find certain things, and then I really got into it.

Once you crack the script, everything else follows.

A man becomes creative, whether he is an artist or scientist, when he finds a new unity in the variety of nature. He does so by finding a likeness between things which were not thought alike before.

Think of the design process as involving first the generation of alternatives and then the testing of these alternatives against a whole array of requirements and restraints.

My solution to the problem of unleashing creativity is always to set up a target.

There's always a pattern in order to make a thing, but the starting point must be something I've never seen before. It's not two-dimensional, but it's like a sample. I work with patterns like a sculptor. I try to get [the team] not to work on a body, [but] to work on a free space, on a table. The work is basically on flat surfaces.

I cannot force a design; I do not see this process as being under my conscious control.

It has been just so in all my inventions. The first step is an intuition-and comes with a burst, then difficulties arise. This thing that gives out and then that-"Bugs"as such little faults and difficulties are called show themselves and months of anxious watching, study and labor are requisite before commercial success-or failure-is certainly reached.

We construct and keep on constructing, yet intuition is still a good thing.

So much of what we try to do is get to a point where the solution seems inevitable: you know, you think "of course it's that way, why would it be any other way?" It looks so obvious, but that sense of inevitability in the solution is really hard to achieve.

I tend to avoid writing music about initial reactions to situations, like frustration or anger. I’d rather wait till I go through the problem, and write about the learning that took place.

I've made clothes my whole life, but I was just naive about the fashion world. But I think it's successful because I've been really involved. Picking the samples, inspirations, color palette.

You confuse two things: solving a problem and stating a problem correctly. It is only the second that is obligatory for an artist.