Generally my focus has been on people who make things, whether it's writers or directors or painters or musicians.
Part of what made the Macintosh great was that the people working on it were musicians and poets and artists and zoologists and historians who also happened to be the best computer scientists in the world.
I'm very supportive of creative people being paid for the work that they do.
The only way that Hollywood ever skews toward liberal is because part of what we make out of Hollywood involves writers, actors, directors, musicians, set designers, and photographers. In general, people like that are going to be more progressive, more open minded, a little more altruistic.
Think of an economy where people could be an artist or a photographer or a writer without worrying about keeping their day job in order to have health insurance.
Actors wait tables, directors work at video stores.
Film people are coming into TV, because they can't get any work.
Luckily, each generation brings forth great writers, actors, directors, and designers.
It's got to be weird to sit in an office all day and deal with these creative types without having any idea of what they do or how they do it.
As artists, we are blessed to be able to make money but, on the same note, are held accountable for our federal tax obligations just like everyone else.
Washington is a perfect realization of the upper-bracket dream of a white-collar universe, where economies run on the information juggling of the ‘creative class’ and where manufacturing is something done by filthy brutes in far-off lands.
I am lucky, that is all. Lucky because there are a lot of people - producers, directors, people who buy tickets - who put confidence in me.
I live in L.A., where every coffee shop is filled with scriptwriters, producers and directors.
Musicians have always adopted Macs.
Younger writers and smaller writers need to live and get by. They need to be paid. It has to be fair.
Alimony is the curse of the writing class.
Housing vouchers are a vital lifeline for many people I know in New Orleans and around the country, including struggling artists.
I have been a product and a beneficiary of the creative industry.
The ad business has some of the great artists, but because there are so many, its hard to determine the true gems.
My closest friends are Roger Moore, who is an actor, Sean Connery, who is an actor, Terry O'Neill, who is a photographer, Johnny Gold, who was the boss of Tramp, and Leslie Bricusse, who is a composer.
Film directors don't come to the theatre in Sydney. In London and New York, they do.
There are amazing behind-the-scenes technicians in Portland who didn't want to raise their families in L.A.
Making a living in the arts, though, creates so many jobs for other people.
Urban areas tend to attract members of the 'knowledge class' - people who work with ideas, data, information.
Entertainment must be a satisfying emotional experience, a stirring of the heart. We need all kinds of young men and women. Those people with an artist's eye and an executive's brain that we term directors. Those wrestlers with their souls and typewriters known as authors. The beggars on horseback called actors and actresses.
