Creative Concept Quotes

The informing idea of what you want to say and do, that's what will take you from film school to professional - the idea. That's what is original to you.

I always thought it would be a great thing to do an art carwash. So you can actually go and get your car washed, but while you're sitting around waiting you can walk in that hallway where you look at the cars going through the window, and that could be changing exhibitions.

Somebody wrote a script around us, but Dustin Abraham came with the best one.

'American Idol,' for me, is fizzling out. They can't package me, man... I'm an artist that's created this concept but used the 'American Idol' machine as a marketing tool.

Today's imaginary band name: The Significan't.

I think the term 'conceptual art' is a useful term for writers, a basket to put people in, like Pop Art or Impressionism or whatever.

If instead of a figure you put the shadow only of a person, you have found an original starting point, that strangeness of which you have calculated.

When you meet a director who wants to remake a movie, you have to ask, does he or she have an interesting vision and idea, something that intrigues you - is there a reason why we should do this?

If you have a truly big idea, the wrong technique won't kill it. And if you don't have a big idea, the right technique won't help you

I could do a franchise for the end of everything. 'The End of Dogs,' 'The End of Cats.'

I like something with a really great storyline, characters, and concept. I like doing things that are new and cutting edge.

I'd love to open a restaurant that changes every month. One month it would be a mom and bar spaghetti-and-meatball, Red Sox place, and the next it would be a British pub, and everyone gets in a fight.

An idea comes as near to something for nothing as you can get.

In order to have a TV series, you have to have a good idea for the story.

I run an independent company, Knockout Entertainment. We've always come out with records that had a concept that impacted really, really, really hard.

I remember that Martin Hannett once had an idea of making a record and burying it in his garden so that one day someone would dig it up, like a time capsule.

When you're pitching movies, sometimes you know what the idea is, but you fully don't know the dimensions of it.

I've learned one general thing in filmmaking: to work with one strong idea. One strong concept that pushes you to work in a certain way artistically.

The idea for any film is always going to be surprising or unusual.

For me, what makes a dope concept is it's a fresh idea, something that I've never heard before.

Forgotten was presented to me by the drama department at LWT as a concept and I found it immediately intriguing and very powerful. I was completely led by the power of the piece and its dramatic potential.

One thing that's really important for me to be creatively motivated is to find an angle. Some people refer to that as a concept, which it is, in a sense, but not overtly. It's just something I need to focus and hone in on, and the trajectory of what might be seen as a 'concept' gives me creative momentum.

I think feature films sell on the idea, and I think TV works based almost entirely on execution. I don't think anybody is going, 'Wow, that show is executed poorly, but the idea is so cool I just have to keep watching.'

'End of Summer' expands the way I want to express myself as a composer. It's a piece of visual music that has this narrative and conceptual dimension to it.

I've toyed with this idea [of Fresh Hell] for a long time. I actually wrote a feature years ago with this sort of concept in mind, and it's gone through several incarnations, and... It wasn't 'til I met Chris Ellis, who directed me in a little thing that was actually for a ride in Universal Singapore, for those of you who happen to be going to Universal Singapore.