Creative Experimentation Quotes

I gave up language for a while, and I started painting.And then I only listened to Miles Davis and other instrumental music to see how it felt to be without words.

When I was nine, ten, I was super young, but I installed a program on my computer so I could start producing music. I just started messing around. Then, after a couple of years, I got better. I actually learned some tricks, so I knew what I was doing instead of just messing.

If you have total freedom to design, you won't get anything interesting. So I give myself restraints in order to kind of push myself through, to create something new. It's the torture that I give myself, the pain and the struggle that I go through.

(I) try new things and give myself permission to fail and experiment because only that way can you get really successful.

I'm always experimenting and trying different things. That's what keeps it fun and encourages growth.

A friend of mine encouraged me to try rapping, so I started experimenting with it, writing verses, seeing if I could fit an extra word or syllable into each line without tripping myself up.

I think each album does have a different energy, otherwise you'd be doing the same thing again and not experimenting anew... Albums are such autobiographical material, not in the material but as an expression of what you're like at the time.

My goal is to communicate how powerful the breaking down of artistic barriers can be when grounded in thought, intention, and a true understanding of all the forms that are being experimented with.

I've experimented with so many different sounds, it's difficult to say what the Donovan sound really is, but it's essentially my voice and guitars.

In the '70s, my playing was completely untutored, but it sounded good to me, and I tried to find ways to make those very simple things work in more ambitious contexts.

I'd come into filmmaking as a painter so, for me, making 'Good Will Hunting' was experimental because I didn't know how to do it.

I'm not a real good musician, but I can write [a song] pretty well. I experiment once in a while to see what I can do. I find out the best I can do is stay with ballads.

I push myself in a lot of aspects when I write a song. I write a piece and where most people would stop and say, 'Oh, that's the hook right there,' I'll move that to the first four bars of the verse and do a new hook.

I was sort of on a mission with 'American Splendor.' I wanted to try to prove that comics could do things. I wanted to expand them beyond superheroes and talking animals. And I knew that was going to take a long time. But I just started writing an autobiography about my quotidian life.

With 'Words, Words, Words,' that show was me experimenting with something, and then there was a clear direction for me.

Television is ultimately a business of failure. You try a lot of things, and most of it fails.

I was twenty-nine years old and I wasn't a very good poet and I wasn't a very good novelist, [so] I thought I would try writing a play, which seems to have worked out a little better.

He who makes the quickest, coolest prototypes reigns!

The studio is a place where I can experiment before I'm prepared for an idea to become a body of work, or a new way of working, or a way of working that can sustain me over a period of time.

You can really bring so much more to rock'n'roll. Rock'n'roll is the most accepting, is the most fertile ground for creating hybrid forms of music and hybrid forms of show, if you draw from many, many different wells. It's just unfortunate so many rock'n'roll stars only bother to learn how to play like Led Zeppelin and/or the Rolling Stones and that's what you get, disc after disc and show after show.

I wanted to do new things with dance, adapt it to the motion picture medium.

Well, most of my sessions have been with Hit-Boy and London, so I haven't had the opportunity to really vibe a lot in person with the other producers. But they're super open to experimenting and taking direction really well and they have good energy.

When I made Blue Moon Swamp, there was a lot of trial and error; I was trying to find people who would be simpatico with my style, and with what I had in mind for the album.

In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.

I might sing a gospel song in Arabic or do something in Hebrew. I want to mix it up and do it differently than one might imagine.