Ben Domenech Quotes

I believe in nurturing creativity and offering a haven for creators, enabling them to develop their ideas to the fullest. With more and more talented creators being drawn to Cirque in an environment that fulfills them, these are ideal to continue developing great new shows.

Remember: It costs nothing to encourage an artist, and the potential benefits are staggering. A pat on the back to an artist now could one day result in your favorite film, or the cartoon you love to get stoned watching, or the song that saves your life. Discourage an artist, you get absolutely nothing in return, ever.

Writing is like carrying a fetus.

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.

People that I have known that have been extremely creative, people in the business, they have always been influenced by their mothers. Their mothers are the ones that created whatever it is - the urge to create.

'Where The Wild Things Are,' I think I could have written on my own. When I brought Dave Eggers on, I already had 60 pages of notes. I technically could have, but I don't think I was ready to. I needed him to be there and help me.

No great work has ever been produced except after a long interval of still and musing meditation.

Every new writing project, every new artistic project, needs to be protected so it can grow on its own before it begins to creep out into the world.

Artists need support, time and money to develop their ideas, and if people rip stuff off, you don't have to be that brilliant to figure out that you're ultimately going to affect the end product.

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.

I don't really care who gets their inspiration from where, it's the end results that count.

I think of myself as a producer. As a producer and as a showrunner, I already understand what it meant to gather people into a room and step back, to create the boundaries of 'everything's okay' to allow TV writers to go to their craziest places.

As an artist, the most important thing and the most special thing is when your intention shines through on the work.

To a certain extent, just like my children, I nurture my writing until the point when it has to get out and face the outside world, where it takes on a life of its own. That is a purpose of any artist and their art.

To me, being creative is a very fragile thing. The environment in which one can create is a very particular one, and somehow, I've always felt the need to be very protective of that.

Regardless of any experiences in the past, for me it really is important to be engrossed in as much of the creative process as I possibly can. I was surprised with how much the eight years I spent on 'Castle' actually serviced that. I ended up, in a way, having a free education on that show.

There's no writer's block; there's only distraction.

I think the greatest privilege you have as an artist is time to nurture what you want to make; that's super luxurious. For you to rush into something, that doesn't feel fun to me. I'm living life in order to be able to write about it.

Artists should be able to thrive and allow their ideas to flourish as much as those in biotechnology or finance.

A lot of what being a producer is, is giving people space. Like psychologically being there to help them realize what they're trying to do.

Every opportunity I've had to work and act with incredibly talented directors, like Dean Holland was on 'Love,' and the writers and creators of that show, Judd Apatow, Paul Rust and Leslie Arfin, have been incredible learning experiences that have informed my creative process.

As an artist, one of the ingredients to doing good work is self-awareness, and that's something I cultivate.

Looking back at it now, it's almost overwhelming, the amount of work that went into writing 'Shine', and to come up with the ideas that we're doing now.

I've always liked playing with somebody else and collaborating, just to get out of my own head all the time. Everybody does, but artists especially, we torture ourselves. So it's good for me to immerse myself in somebody else's work.

I've always tried to - when I've been able to - support young artists, no matter what medium.