The magic doesn't come from within the director's mind, it comes from within the hearts of the actors.
James CameronRead
But failure has to be an option in art and in exploration - because it's a leap of faith. And no important endeavor that required innovation was done without risk. You have to be willing to take those risks.
Interpretation
Failure is a necessary part of creativity and exploration, as innovation often requires taking risks.
James Cameron emphasizes that both art and exploration rely on the willingness to embrace failure as a possibility. He highlights that innovation cannot occur without taking risks, suggesting that true achievements are often born from the courage to attempt what is uncertain.
In practice
A motivational speaker might use this quote to inspire creativity in an art class.
The magic doesn't come from within the director's mind, it comes from within the hearts of the actors.
To convince people to back your idea, you've got to sell it to yourself and know when it's the moment. Sometimes that means waiting. It's like surfing. You don't create energy, you just harvest energy already out there.
I tend to like strong female characters. It just interests me dramatically. A strong male character isn't interesting because it has been done and it's so cliched. A weak male character is interesting: somebody else hasn't done it a hundred times. A strong female character is still interesting to me because it hasn't been done all that much, finding the balance of femininity and strength. [From a 1986 Fangoria interview]
Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.
Every time you dive, you hope you'll see something new - some new species. Sometimes the ocean gives you a gift, sometimes it doesn't.
I'm a storyteller; that's what exploration really is all about. Going to places where others haven't been and returning to tell a story they haven't heard before.
Rather than a teaching tool, I think a novel is more of a witnessing entity. A witnessing entity? What is that? I just want the reader to step in and experience it as a story.
I wanted to write the kind of poetry that people read and remembered, that they lived by - the kinds of lines that I carried with me from moment to moment on a given day without even having chosen to.
I think writer is a word without gender, and a good writer observes, absorbs, hopefully empathizes then translates that into character and story. You don’t have to do or be or have experienced, traveled to, but you have to imagine all of that, very well–and believe it completely during the bubble of the work.
One does not read a poem by Gwendolyn Brooks with hopes that it will grant him a career in engineering; he does so because poetry helps him see something in the world that he might not have seen before.
When you write a song, a song has longevity
But it was the singing that pulled me in and split me wide open.
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