Wyatt Cenac Quotes

I enjoy producing because the show becomes your baby.

The ultimate aim of all creative activity is the building!

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.

To outsiders it probably seems like splitting hairs, but to me, Bright Eyes is a simply the collaboration between myself and Mike Mogis and Nate Walcott. What you hear is definitely the sum of all our ideas and represents all three of us. But I still write the songs myself.

I think the act of condensing months or years of work down to a couple hours of entertainment is pretty wild and extremely rewarding.

In truth, I have always been amazed by a group of people who all work toward putting one person's vision forward - that's an interesting story for me.

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.

Occasionally projects just take off unexpectedly, sometimes you can work away at sketches and ideas for years before they are published. There are a number of authors I would be eager to illustrate.

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.

It's impossible to control the reception of your work - the only thing you can control is the experience of writing itself, and the work you create.

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

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.

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.'

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.

That's one of the great things about creativity. You labor away in a room, and when you're writing a film, it couldn't be more of a solitary activity or a lonelier job, but if you then write a film that gets made and goes out into the world, it kind of flies away from you. It's not yours anymore.

In every successful still photographic project that I have completed, there has always been a turning point in the story where I felt that perhaps I was working on something that could be very special.

Nothing else is as fulfilling as playing a part in which you are able to have a significant say in the creative process all the way through. How many actors get to do that? It's extremely rare.

The director is the ultimate creative arbiter of what's going to happen. And as a director myself, you really appreciate collaborating with people who are trying to help you find what you need and what you want.

The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.

It's so hard to find a director who, when you look at their body of work, you like everything.

You don't always just have to do an indie movie to feel like you're controlling it with a few people that you really have connected with, creatively. You can do it on a bigger scale.

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

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

I want to die painting.

Some people would ask: 'You are not the one who does the painting, or shot the work, how can it be your work?' But I was the one who chose which site we should use, and which assistant helps me to do the painting, or the shot.