Creative Investment Quotes

I only get involved with projects as a producer if I feel creatively inspired.

When I write a film, there's a particular thing I am wrestling with and the question or concern I'm dealing with has to be big enough for me to dedicate a year or two of my life. If the question isn't big enough, or rich enough, I'll lose interest.

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.

As an artist myself, I know what it's like to put your heart and soul into something. You can feel the presence of another person.

I'm a firm believer that if you're nervous before you go into a scene, it means the scene is going to be good, and it means you're invested in making something special.

'Bonnie and Clyde' was the first show and the first role that I got to originate. Being part of that from the ground up and investing three years of my life into seeing that show come to Broadway was really rigorous but also so exciting.

I don't see how it's a risky thing to take a great part with a great director and a great script. That, to me, is not really a dangerous, risky proposition. It's actually a really good choice.

People are more naturally protective of what they create than of what they consume.

I go out and look for a good story to tell and if I like it enough and I decide to direct it, I become dangerously involved in becoming a part of that story.

I think it's really important for artists in general to invest in themselves. And I view my schoolwork as something I'm investing in for me. And I'm my own product as an actor. There's a kind of career that I want, and I feel like I'm making choices to obtain that.

It's hard to give your song away. They're like your kids.

If I were running a campaign, I'd urge taking the mountain of money reportedly squandered on pizza, coffee and bagels and spending it more wisely - on a talented young comedy writer.

There's a lot of time sitting in movies, so you can put alligators in people's trailers in your spare time. So it [making a film] moves slower, which in some ways is great, because you can live with a scene and invest in it a lot. And in some ways it's hard, because sometimes you can start to lose your energy a little bit, but both are fun.

The only living works are those which have drained much of the author's own life into them.

Films are not a part-time job. They take months to make and require long-time commitment; so, you can't do a half-hearted job.

I try not to get typecast in any role, any image. I feel I can do justice to every kind of role, so why not make the best of it? See, commercial films alone can get you only so far. If you want to last as an actress, then you have to put in that extra bit of investment by doing off-beat films, too.

At the moment we're trying to keep what we've learnt. Because we learnt a terrific amount with 'Deep Purple In Rock,' it took six months to make that album: we think it paid off, really. I can honestly say that it's the first album we've been 100 percent satisfied with; it gave us a hell of a lot of confidence.

I always think the really unfortunate thing about the Australian film industry is its lack of momentum. And I don't mean this in a derogatory way. I'm always wanting it to pick up momentum, and I'm wondering if that's even possible.

If I'm not invested emotionally, the artwork doesn't feel emotional.

I have always thought we should think less about the British film industry as an entity, and more about getting British talent working.

Music, art, writing - it gives us a sense of who we are, a sense of our history, a sense of our future and it should provide some kind of comfort. It's not just entertainment for entertainment's sake, it's an investment.

For me, being in front of a camera is a matter of practicing and refining your art. I think, if you're telling a story worth telling, it's worth investing the time into developing.

I'm still tremendously proud of 'Crimson Petal.' I'm still very emotionally involved with these characters. I still care about them.

Our creative communities in Nashville, in L.A. and New York, and in Austin, those are communities you want to see stay viable.

What I learned at Miramax is that if you see where extraordinary creative talent can be brought into the family, move quickly, because if you don't, someone else will.