Munira Mirza Quotes

The impact of the creative industries, of design and architecture in particular, are of course economic and they are a great export opportunity.

Creative industries are more important than the car industry, luxury jewels, and fashion.

The arts are an integral part of the city's economic progress.

There is a lot of interest in the arts, music, theatre, filmmaking, engineering, architecture and software design. I think we have now transitioned the modern-day version of the entrepreneur into the creative economy.

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

In California, of all places, entertainment is the key to a vibrant economy. If we do not develop young adults capable of entering that world, the financial base of this state is sure to suffer and impact all of us.

I'm very supportive of creative people being paid for the work that they do.

Like university science departments, the arts have shown how they can earn their way and point to an economically newborn future for this country. They show that the U.K. could be a prime provider of imaginative riches and intellectual adventure, which I think are the two great prizes of the 21st century.

I'm proud to be a member of the creative class, particularly here in Atlanta where the entertainment and creative industries form such an integral part of our economy, our culture, and our community.

I have been a product and a beneficiary of the creative industry.

Making a living in the arts, though, creates so many jobs for other people.

I'm skeptical of the 'go local' approach to cartooning to preserve your job.

Something I notice speaking to writers from south of Hadrian's Wall is that the culture is different. At base, I think Scotland values its creative industries differently from England.

London gives birth to amazing talent but is rubbish at helping maintain it.

The truth is, we haven't really figured out yet how artists are going to thrive in modern mass societies. We're all experiments.

If you look at the creative economy in this country, it's per capita way bigger than any other in the world.

It's not a coincidence these two industry areas - Silicon Valley and Hollywood - use the same jargon. They share a common language, the language of the creator, of the entrepreneur.

The landscape of professional creation continues to get more complex. Organizations and platforms of all sorts are vying for a slice of the value created by the relationship between creators and their audiences.

Some people think that culture is overhyped and peripheral. A season of opera is less important than the refurbishment of a school, they say. Leaving aside the poverty of imagination and aspiration implicit in such a sentiment, it also ignores hardheaded economic reality: Britain, and London in particular, makes big money from culture.

Britain is home to world class creative industries and talents.

If we don't give the authors of music, film, literature, and journalism a way to control the distribution of their goods, the quality of all of these creative efforts will decline.

Art does, to some extent, follow economics.

Certainly, 'creativity' has been a vital plank of New Labour strategy. It not only hands out money with the enthusiasm of a Medici, but also invites the talented arts world into the very heart of government.

We want artists to stay in London. It's very important culturally and economically, but there are lots of challenges in terms of finding space.

A lot of my work involves criss-crossing London to visit the many hundreds of projects, theaters, galleries, museums and groups that comprise the capital's astonishingly rich cultural life.