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Screenwriting is still a challenge for me. It's more technical than creative. You have to be a very good journeyman plumber and put the proper parts together. Then, if you can still inject a little bit of something worthwhile, you have done as much as can be expected.
The thing I love the most about low budget films is the creative freedom.
I started creative writing classes at Aberdeen Central Library, and the writer-in-residence there, Todd McEwen, encouraged me a great deal. He showed my stories to his editor, and I thought that was just what happened to everyone who took his classes!
I think being a freelancer really taught me to hustle and gave me respect for anyone who puts it on the line every day for something creative.
All I'm interested in is being creative and working with creative people.
Creative non-fiction is such a liberating genre because it allows the non-fiction writer, whether he or she be journalist or essayist, to use all of the techniques of the fiction writer and all of the ideas, creative approaches, that fiction writers get a chance to use, but they have to use it in a true story.
I discovered that I, a writer of what is known as creative nonfiction, could do the research and bridge the gap in my books and lectures through true storytelling. This is not 'dumbing down' or writing for eighth graders. It is writing for readers across cultures, age barriers, social and political landscapes.
The people who are writing online and the people in my genre of creative non-fiction exert a great deal more freedom that journalists are allowed to exert in their day-to-day work.
The creative industries, a source of optimism in recent years owing to, among other things, a resurgence on the world stage of British music, have come out foursquare against Brexit.
Of course, I'd like to produce and direct a blockbuster, but you gotta build up to that. So now I'm learning from a bunch of little movies. And it's more fun with smaller pictures. It's more creative.
Now that copyrights can be just about a century long, the inability to know what is protected and what is not protected becomes a huge and obvious burden on the creative process.
I was really creative. I started to dance very young. I loved to dance. I begged my mother to put me into dance classes, and finally, in third grade, she did. Tap and jazz, but not ballet.
With Lady Gaga I really stretched myself as a creative director, and because I was with this artist from before she got signed I was able to really take control of the opportunity and execute as a creative director.
Choreography is amazing. I'm still a dancer, yet I transitioned into choreography then as a Creative Director. All of these creative elements are brought out of being a dancer. Directing is something that comes out of understanding movement and choreography. Directing movement is directing a dance piece.
'Born This Way' is shaping up to be creative ecstasy.
'The Dance Scene' is basically the most amazing dance show in the world, and it follows me as a creative director. You see how I maintain that creativity.
Recently, Lady Gaga was motivated to take the helm of the creative direction of her career and as such I decided to step away. I am extremely proud of her, and in stepping away I wish her all the best.
A choreographer deals with the movement that you create, and with a creative director it's about the story, the stage, the lighting, the costuming, executing someone's idea, choosing how far to go or how little to go, and blending it so that you feel it, you're emotionally effected.
Everybody in L.A. is a songwriter, producer, actor, creative. For some reason, you're supposed to go to a bar and all hang out and act like you like each other. There is a lot of fake stuff that goes on.
Because over and over again, the times that I've done really good things is because I've had a wonderful client of some kind, and a lot of it depended on me to induce them to be creative.
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