Creative Trial Quotes

You come out of each movie just thinking, "God, if we can fool them into letting us make just one more, we can get it right."

You do an awful lot of bad writing in order to do any good writing. Incredibly bad. I think it would be very interesting to make a collection of some of the worst writing by good writers.

Making a film is just layers and layers of work of edits and trial and error.

When I realized that people actually wrote comics, that it was a job people could do, I thought, 'Gee, these things are only 17 pages long! I could probably finish one of those and find out whether I suck before I've spent five years of my life on it.' In stumbling into comics that way, I discovered that I loved the form.

Were there stories I wrote along the way that were terrible clinkers? God, yes. But they were all a product of their time, and I did the best I could.

The problem is that once I start on a song and get a rough idea of where I might go with an arrangement, I try dozens, sometimes hundreds, of different things on a song. The bass, the backing guitars, the lead guitars, the keyboards. It's a long process. It's like 100 steps forward and 99 steps back.

'Green Screen' was a total experiment. I'm glad we did it, but it was just tough on that network to get it going.

There are movies and TV shows I wish we didn't make, sure, but we're in the business of creating things that are not all going to work.

Music is really all about experimentation and lots of trial and error. It's just mind-numbingly boring until you hit on something that works well.

I am glad I tried something different with 'A Flying Jatt'. I will be okay even if I failed with this film.

I like to come up with lots of different sounds. So the final version of a song might have been 10 completely different songs before we finally got it right.

I experimented with different roles, but they didn't work, despite being fantastic films like 'Naa Autograph,' 'Sambo Siva Sambo,' 'Neninthe'... etc. I was very satisfied doing those roles. Had those films worked for me, I perhaps would not have tried anything different further. I like to experiment once in a while if it works.

When I'm in the studio, I'm experimenting, trying things on.

You can write ten versions of a scene, and then, on the day, discover that something in the original scene worked. It's hard on writers. Hard on actors, hard on editors, hard on me, hard on the producers, who require patience and confidence. But I can't get to the end without going through this process.

I had my whole life to write a bunch of crappy songs and then play them in front of people and think, 'All right, that one out of these seven is really good; it's a keeper.' But on this second album, to be honest, I probably wrote about 50 songs where I was just trying to write a hit.

The Internet is a good way to try some stuff with no big crew and no money being spent. Since there are no stakes to it, you can try to be a little experimental.

As the stylist, sometimes you see things that you love that don't work, and that's OK. That's why we have fittings!

Every writer has to figure out what works best - and often has to select and discard different tools before they find the one that fits.

You put some things out there. Some work, some don't, and then one really takes off, and that pays for your failures. Then you go on to the next one.

Usually when you're doing concepts for a character, you just try a couple different things to see what sticks.

I've never had vocal training. No one could ever say that they helped me carve what my voice has become. It's just been more of self-training: me just continuously going into the studio every night and trying out different beats.

Filmmaking is like any kind of art form. You have to try to figure it out, and you're going to do that by trying.

I hadn't meant to do the pattern of publishing short stories and then a novel. I thought, 'I'm a novelist. I know it.' But you have to kind of write a lot of bad novels before you can write a good one, I think, so I did that. But meanwhile, I loved the short stories I did.

In order to figure this artmaking stuff out, it's trial and error and experimentation, and takes some time and hard thinking. Putting work out in many forms and stages is an extension of how I see things. I feel the art process is best served when it invites comments and constructive criticism from people.

I don't have the educated knowledge of what textures, colors, shapes and spaces need to be put together to make something just right. I'm learning it by trial and error, which is something that's slow going.