Creative Structure Quotes

You can't improvise without a skeletal structure; you can't just go in and start talking. This is a very misunderstood craft because no one else makes movies like this.

If I can create some space that people haven't experienced before and if it stays with them or gives them a dream for the future, that's the kind of structure I seek to create.

The greatest danger for artists is total freedom.

Once I got into pop songwriting, I was kind of just ready to help other people tell their stories... I'm here to facilitate and structure and grow and make things a little more fabulous and a little more urgent.

Music is made up out of these building blocks. Studying how these blocks go together and what they consist of and the math of how it works - it's all the same stuff; it's just different aesthetics that we're talking about.

I go to make art as who I am as a person. The fact that I am a woman comes into play maybe in the kinds of things I'm interested in or in the way I structure a canvas.

Each genre exerts a considerable spell, as a kind of "form" to be filled, as a Shakespearean sonnet is filled.

I don't believe in total freedom for the artist. Left on his own, free to do anything he likes, the artist ends up doing nothing at all. If there's one thing that's dangerous for an artist, it's precisely this question of total freedom, waiting for inspiration and the rest of it.

The movie, by sheer speeding up of the mechanical, carried us from the world of sequence and connections into the world of creative configurations and structure.

One mustn't always believe that feeling is everything. In the arts, it is nothing without form.

Art is based on order. The world is full of 'sloppy Bohemians' and their work betrays them.

Art is the imposing of a pattern on experience.

I do think that's one of the reasons that acting appealed to me so much: the idea of letting go of control in a controlled environment. Being able to go through the range of intense emotions and jump off the cliff, metaphorically, but in a creative way, and in a way where the structure was really solid.

What makes screenplays difficult are the things that require the most discipline and care and are just not seen by most people. I'm talking about movement - screenwriting is related to math and music, and if you zig here, you know you have to zag there. It's like the descriptions for a piece of music - you go fast or slow or with feeling. It's the same.

I do think, or rather I sense that there is a relationship - at least in my own work - between a dramatic structure, the form and sound and shape of a play, and the equivalent structure in music. Both deal with sound, of course, and also with idea, theme.

Art is nothing without form.

Life is as the sea, art a ship in which man conquers life's crushing formlessness, reducing it to a course, a series of swells, tides and wind currents inscribed on a chart.

A scene has to have a rhythm of its own, a structure of its own.

You make sure that there's a structure that's interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I've found what works. So I'm not wasting their time.

I'm a relatively disciplined writer who composes the whole book before beginning to execute and write it. Of course, you can't hold - you cannot imagine a whole novel before you write it; there are limits to human memory and imagination. Lots of things come to your mind as you write a book, but again, I make a plan, chapter, know the plot.

I'm a thespian. I don't like to improv. I don't like to go off course 'cause I think that's where stuff happens. When you stick to the material 'cause it's written so well, that's where the magic happens.

The logic for me, in writing it is that the different areas or different years are almost like different rooms.

The composition is the organized sum of the interior functions of every part of the work.

Structure is important in film, but there's often structure to be found in the most unlikely of places! It's quite possible to build a structured story and retain idiosyncrasy.

Each work has its own space, which should neither be conceived as a sort of cage nor regarded as extending to infinity.