Creative Presentation Quotes

In San Francisco, the majority of the restaurants are ingredient-driven. In New York, that is true as well, but there's also a greater focus on technique.

I've never had to pitch a movie to a studio. I usually just let people read the script, then I cast it. I always think pitching is for baseball.

Great journalism will always attract readers. The words, pictures and graphics that are the stuff of journalism have to be brilliantly packaged; they must feed the mind and move the heart.

For summer soirees, I recommend being bold. Add a flavorful herb or a fresh, exotic fruit or vegetable to transport your guests to another place.

I would never want something I'm wearing or the way I'm dancing or something to overshadow what I'm doing. I'd rather grab people's attention with my voice.

People're artists they're doing something, taking a hunk of chaps, giving it some order, some form, and presenting it saying here is my little song and dance, my chaos.

So many people are accustomed to written information that you really have to have a few more bells and whistles in this day and age.

I call it 'new forms'. When you're starting out, they ask you to do four or five minute sets, but once you're a headliner, you do like 90 minutes. I try to think of different things to divvy up the show, like doing drawings, playing music... I gotta carry the show, that's the problem.

While I pride myself on trying to be creative in all areas of my life, I have occasionally gone overboard, like the time I decided to bring to a party a salad that I constructed, on a huge rattan platter, to look like a miniature scale model of the Gardens of Babylon.

Style is the substance of the subject called unceasingly to the surface.

Going into 'Details' magazine to pitch concepts for a potential photo shoot was one of the most nerve-wracking things I had ever done. I didn't really know what one did in a pitch, how they were structured, etc., and that freaked me out big time.

Make the important interesting.

No-one who has a real understanding of the art of painting attaches any importance to what we call the subject of a picture - what is represented. To one who feels the language of pictorial form, all depends on how it is presented, nothing on what.

A gastronomical supermeal didn't necessarily have to involve the things I had brought from other top kitchens.

There may never be anything new to say, but there is always a new way to say it, and since, in art, the way of saying a thing becomes a part of what is said, every work of art is unique and requires fresh attention.

The key to a good meal is simplicity and the right seasoning.

Artists freeze themselves into these weird postures that are meant to be impressive and involving, then they fling them out into the world like Polaroids, and then they move on. And I'm stuck in this intense relationship to the Polaroid.

In the 1970s we got nouvelle cuisine, in which a lot of the old rules were kicked over. And then we had cuisine minceur, which people mixed up with nouvelle cuisine but was actually fancy diet cooking.

I also hang the pictures low rather than high, and particularly in the case of the largest ones, often as close to the floor as is feasible, for that is the way they are painted.

The big catalyst was seeing my sister, when I was 11, doing a dramatic recital. When I saw her on the stage and everyone listening to her so patiently, quietly, that's all I wanted: for someone to look at me and listen to me, but in some beautiful and artistic way.

I'm a visual artist myself and always have been so it's very natural for me to be very concerned with presentation, whether it's artwork or onstage.

In my case, performance is part of the medium. Sometimes I feel that it's my main medium, and that the presentation of my poems on the page is secondary.

I admire my fellow judge Paul Hollywood enormously, though we often argue. He believes presentation and uniformity are paramount; I'm more interested in taste. I don't mind if one bun is smaller than the others, or if there's a little pastry cracking, though I don't want a soggy bottom.

I am sure that there is no place in the world where your message would not be enhanced by your making the place (whether tiny or large, a hut or a palace) orderly, artistic and beautiful with some form of creativity, some form of ‘art’ (p. 213).

At the beginning of the career is important for a designer to present his most representative pieces.