Creative Leadership Quotes

The most creative director I have worked with is Mani Ratnam.

To have the privileged position of being the guy who is responsible for shaping the entire experience for an audience as opposed to being just one instrument in that orchestra, being an actor, it's all-encompassing.

The great thing about women directors is that they're not only involved in the performances - they can gauge where we all are personally and know how to direct us better because of that.

There is such amazing talent at Disney. My job is 100% creative, and I am very excited to creatively lead them.

I've certainly worked with really great directors who haven't acted.

I'm the creative director of awesomeness.

Being the director - way fancier than 'just' being the writer. People call you 'talent.'

I think 'director' is a very broad term. I like to think of myself as the head collaborator, not the director, because I think, for a lot of people, 'director' connotes giving orders and telling people what to do.

Leadership is the willingness to put oneself at risk…. Leadership is seeing the possibilities in a situation while others are seeing the limitations…. Leadership is evoking in others the capacity to dream.

Oprah Winfrey is a big role model for me from a business capacity and a creative capacity. She is an incredible interviewer who cultivated a certain style by inserting her own personhood into a show on national television at a time when no one was talking about empowerment, spirituality, or our inner lives.

Absolutely, you rise and fall based on your creative team.

I'd want to start being a creative director of a specific line, like Adidas, for example. If they called me up to collaborate on something, I would do it.

I think the obligation of an artist is to make a difference in the world. That is what matters most to me. I think that artists are the leaders of the world because they do not have a connection to the industrial complex, the day-to-day short-term survival that most people are involved with.

After Pixar's 2006 merger with the Walt Disney Company, its CEO, Bob Iger, asked me, chief creative officer John Lasseter, and other Pixar senior managers to help him revive Disney Animation Studios. The success of our efforts prompted me to share my thinking on how to build a sustainable creative organization.

I don't really think of myself as a businessman at all. That's why I have the 'chief creative officer' role.

Directing is such alchemy, it's so easy to fail. And I've seen people who are great at their jobs because everybody has a go. Editors, DPs, actors, craft services guy, everybody wants to try it out but it is such a diffuse but necessary set of skills that you never know which one this person might lack.

Rick Rubin was able to do things that Dave Fortman could never do. I'm not trying to take anything away from Dave Fortman as a producer. He's extremely talented. He wasn't able to get nine people together on the same page and, to me, that's the most important thing in making a Slipknot record.

Imagine the world of mobile based on Nokia and Motorola if Apple had not been restarted by a missionary entrepreneur named Steve Jobs who cared more for his vision than being tactical and financial.

If you want to have a creative culture, you can't get it by reading books. You get it by example.

For success of any mission, it is necessary to have creative leadership. Creative leadership is vital for government, non-governmental organisations as well as for industries.

What I look for in a director is a strong point of view, a clear vision, and an ability to multitask and make decisions on the fly.

If you're not thinking for yourself, then you're following-not leading.

When you think about being a director, you think about writing stories, putting the camera in interesting places and directing the actors to get your vision, but it's hard to imagine even this process... sitting here nine months later talking about the film and talking about it 20 times in one day. You don't even think about the part where you come to the set every morning and everyone's looking at you to see your mood in order to see what the day is going to be like, and the influence that you wield.

I was a teacher and an administrator at Parson's School of Design, and as an administrator, I was associate dean. And in that role, I went around fixing things that were broken. And the Parson's fashion program was broken.So fashion chose me. It needed to be developed and evolve. I don't know if it comes naturally to anyone.

That's what I learned most about directing on my own - you've got to build a family, a filmmaking family.