Creativity Quotes

मैं बस कुछ ऐसा चाहती हूँ जो सच्चा हो और लोगों के दिलों को छू जाए। मैं बस कुछ ऐसा बनाना चाहती हूँ जिसमें सच्चाई हो।

I just want something that is real and that moves people. And just want to make something real.

I just want something that is real and that moves people. And just want to make something real.

अगर मैं कुछ ऐसा रच सकूँ जो वास्तविक हो, जिसे लोग सराहें और जो दूसरों तक आसानी से पहुँच सके, तो मैं खुश हूँ।

If I can make something real and it's appreciated and accessible to other people, I'm happy.

If I can make something real and it's appreciated and accessible to other people, I'm happy.

अक्सर लोग मुझसे पूछते हैं कि किसी गाने को क्यों चुना गया और हमेशा मेरे पास इसका कोई ठोस जवाब नहीं होता। आप अलग-अलग विचार आजमाते हैं और कोई आइडिया काम कर जाता है या सुनने में बहुत शानदार लगता है। कभी-कभी गाने एकदम सटीक बैठते हैं और कभी-कभी उनमें एक रहस्य सा छिपा होता है।

Often people will ask me why a song was chosen and I don't always have a good answer for it. You try ideas and something works or sounds really cool. Sometimes songs are on the nose and sometimes they're more mysterious.

Often people will ask me why a song was chosen and I don't always have a good answer for it. You try ideas and something works or sounds really cool. Sometimes songs are on the nose and sometimes they're more mysterious.

[विंसेंट] वैन गॉग से मुझे ईर्ष्या होती थी क्योंकि मैं वैसी खूबसूरत पेंटिंग कभी नहीं बना सकती थी! (मुझे पता है, यह बात थोड़ी अजीब है।) तभी मेरे मन में आइवी [विल्क्स] के किरदार का ताना-बाना बुनना शुरू हुआ था।

I was envious of [Vincent] Van Gogh because I could never make a painting that beautiful! (Ridiculous, I know.) That was when the character of Ivy [Wilkes] began to take shape for me.

I was envious of [Vincent] Van Gogh because I could never make a painting that beautiful! (Ridiculous, I know.) That was when the character of Ivy [Wilkes] began to take shape for me.

यह मेरा पहला उपन्यास था [द डिसम्बलर्स]। मैंने कभी गंभीरता से लघु कथाएँ नहीं लिखी हैं, और सच कहूँ तो कला के एक रूप के रूप में लघु कथाएँ मुझे उपन्यासों की तुलना में कहीं अधिक डरावनी लगती हैं।

This was my first novel [The Dissemblers ]. I've never seriously written short stories, and actually find short stories much more intimidating as an art form than novels.

This was my first novel [The Dissemblers ]. I've never seriously written short stories, and actually find short stories much more intimidating as an art form than novels.

कैमरा आपकी इच्छा के अनुसार चीज़ों को देखने का एक जरिया है—यह निर्देशक की कल्पनाओं का ही विस्तार है। मैं अपनी निजी कल्पना को जीती हूँ, चाहे वह सुख की कल्पना हो या फिर दर्द और डर की।

The camera is your way to see what you want to see - it's an extension of the director's fantasy. I'm executing my personal fantasy, whether it's a fantasy of pleasure or of pain and fear.

The camera is your way to see what you want to see - it's an extension of the director's fantasy. I'm executing my personal fantasy, whether it's a fantasy of pleasure or of pain and fear.

मुझे लगता है कि जब मैं किसी प्रोजेक्ट के बारे में सोचता हूँ, तो मुझे जो चीज़ सबसे ज़्यादा रोमांचित करती है, वह है भलाई और बुराई का वह जटिल दायरा और मानवीय व्यवहार तथा अस्तित्व के वे उलझे हुए पहलू।

I guess what I get excited about when I'm thinking about projects is that toothy, complex area of goodness and badness and the gray areas of human behavior and existence.

I guess what I get excited about when I'm thinking about projects is that toothy, complex area of goodness and badness and the gray areas of human behavior and existence.

उस समय, मैं अभी भी प्रयोग के दौर में थी, पश्चिमी ड्राइंग तकनीकों और चीनी ब्रश कला को आपस में मिलाने की कोशिश कर रही थी। तब मेरे लिए यह काम काफी कठिन था... लेकिन वह कृति बेहद खास और महत्वपूर्ण है, क्योंकि वह सतर्कता और मासूमियत का प्रतीक है; उस तरह की अनमोल मासूमियत जो केवल किसी नई कलात्मक खोज की शुरुआत में ही मौजूद होती है।

At that time, I was still in an experimental stage, trying to blend Western drawing techniques and Chinese brushwork together. It was harder for me back then... But that piece is special and important, because it represents vigilance and innocence; the kind of precious innocence only present at the beginning of a new artistic exploration.

At that time, I was still in an experimental stage, trying to blend Western drawing techniques and Chinese brushwork together. It was harder for me back then... But that piece is special and important, because it represents vigilance and innocence; the kind of precious innocence only present at the beginning of a new artistic exploration.

मेरी दिलचस्पी सीमांत स्थितियों, बचपने, भोलेपन, भ्रम, कल्पनाओं, बदलाव के दौर और इस सच्चाई में है कि जीवन के एक खास मोड़ पर कोई पाबंदी नहीं होती। मैं चाहती हूँ कि मेरी फोटोग्राफी कोई सटीक बयान देने के बजाय एक सवाल खड़े करे।

I am interested in marginality, in immaturity, in naïveté, in illusion, in fictions, in transitions, in the fact that at a certain moment in life there is no limit. I would like my photography to pose a question rather than make a precise statement.

I am interested in marginality, in immaturity, in naïveté, in illusion, in fictions, in transitions, in the fact that at a certain moment in life there is no limit. I would like my photography to pose a question rather than make a precise statement.

जब यह मेरे दिमाग में आता है, तो मैं इसे लिख लेता हूँ।

When I have it in mind, I write it out.

When I have it in mind, I write it out.

इस प्रोजेक्ट में सबसे चुनौतीपूर्ण काम था हमारे पास मौजूद सामग्री का विशाल भंडार। हमारे पास खंगालने के लिए ढेर सारा मीडिया था—'द आई हैज़ टू ट्रेवल' के लिए तो फैशन स्प्रेड्स थे, लेकिन इस बार हमारे पास कला थी, जो कि अद्भुत थी। इन अविश्वसनीय आर्काइव्स और फुटेज तक जो पहुँच हमें मिली, उससे मैं सचमुच अभिभूत हो गई थी।

The most challenging thing about this one was the vast amount of material we had at our disposal. We had a lot of media to go through - instead of fashion spreads, which informed The Eye Has To Travel, we had art, which was fantastic. I was spoiled by the access we had to these incredible archives and footage.

The most challenging thing about this one was the vast amount of material we had at our disposal. We had a lot of media to go through - instead of fashion spreads, which informed The Eye Has To Travel, we had art, which was fantastic. I was spoiled by the access we had to these incredible archives and footage.

मैंने बहुत कम उम्र में ही हॉरर फिल्में देख ली थीं और मेरी पसंदीदा हॉरर फिल्मों में से एक 'द शाइनिंग' थी। उसमें जैक निकोलसन का किरदार, उनका वह अजीब, जुनूनी और नियंत्रित अंदाज़ मेरे दिमाग में बस गया था। ज़ाहिर है, 'विलेज ऑफ़ द डॅम्ड' की मारा कोई शराबी नहीं थी और न ही उसे कोई भावनात्मक या पागलपन वाले दौरे पड़ते थे। वह बहुत कम बोलने वाली और शांत थी। लेकिन मैं उसी तरह की बुराई को अपने अंदर उतार रही थी।

I watched horror movies way too young and one of my favorite horror movies was The Shining. Jack Nicholson's character in that just bore a hole in my brain, his weird, maniacal controlled stuff. Obviously Mara in Village of the Damned wasn't an alcoholic and didn't have emotional, crazy outbursts. She was very non-emotional. But it was that sort of evil that I was tapping into.

I watched horror movies way too young and one of my favorite horror movies was The Shining. Jack Nicholson's character in that just bore a hole in my brain, his weird, maniacal controlled stuff. Obviously Mara in Village of the Damned wasn't an alcoholic and didn't have emotional, crazy outbursts. She was very non-emotional. But it was that sort of evil that I was tapping into.

मेरी माँ एक कोरियोग्राफर थीं, इसलिए संगीत हमेशा से मेरे आस-पास रहा है।

My mother was a choreographer, so music has always been around.

My mother was a choreographer, so music has always been around.

मंच मेरा घर है, और इसके जैसी कोई दूसरी जगह नहीं है।

The stage is home, and there's no place like it.

The stage is home, and there's no place like it.

बड़ी फिल्मों (ब्लॉकबस्टर) के मामले में, लोग मुझसे हमेशा कहते थे कि अगर आप महिला पात्रों को लिखेंगी, तो लड़के फिल्म देखने नहीं आएंगे, इसलिए हर किसी को आकर्षित करने के लिए इसमें लड़कों के पसंद की चीजें भी डालनी होंगी। मैं 8 से 80 साल तक के लोगों के लिए लिखती हूँ, और यह आसान नहीं है।

For the blockbusters, people were always telling me that if you write female protagonists, the boys won't go, so you have to put the boys' stuff in it to get everybody. I write for people from 8 to 80, and that's not easy.

For the blockbusters, people were always telling me that if you write female protagonists, the boys won't go, so you have to put the boys' stuff in it to get everybody. I write for people from 8 to 80, and that's not easy.

जब मैं एनिमेशन लिखती हूँ, तब भी मैं उन्हें असली इंसानों की तरह ही सोचती हूँ। मैं उन्हें पूरी तरह से त्रि-आयामी (three-dimensional) पात्रों के रूप में देखती हूँ, भले ही वह बोलने वाली चायदानी ही क्यों न हो। मैं उन्हें इधर-उधर भागने वाले एक-आयामी चित्रित पात्रों के रूप में नहीं देखती। शायद यही वजह है कि मेरे लिए दोनों को लिखना—एनिमेशन बनाम लाइव एक्शन—में कोई खास फर्क नहीं है।

Even when I'm writing animation, I think of them as real people. I think of them as completely three-dimensional beings, even if it's a talking teapot. I don't think of them as one-dimensional drawn characters running around. Maybe that's why, to me, there's really no difference in writing the two - animation versus live action.

Even when I'm writing animation, I think of them as real people. I think of them as completely three-dimensional beings, even if it's a talking teapot. I don't think of them as one-dimensional drawn characters running around. Maybe that's why, to me, there's really no difference in writing the two - animation versus live action.

अगर मुझे चीज़ें बनानी आती होतीं और मैं बिजली से न डरती, तो मैं करोड़पति बन सकती थी।

I could be a millionaire if I knew how to make stuff and wasn't afraid of electricity.

I could be a millionaire if I knew how to make stuff and wasn't afraid of electricity.

मेरा दूसरा रचनात्मक शौक बुनाई करना है; मज़ेदार होने के अलावा यह फिल्म उद्योग की भागदौड़ से मेरा बचाव है: इसमें पूरी रचनात्मक आज़ादी होती है, कोई लंबी प्रक्रिया नहीं होती, और मैं इसका खर्च खुद उठा सकती हूँ।

My other creative outlet is knitting; aside from being fun, it is my antidote to the film business: I have full creative control, there is no development process, and I can self-finance.

My other creative outlet is knitting; aside from being fun, it is my antidote to the film business: I have full creative control, there is no development process, and I can self-finance.

कॉपी करना चोरी नहीं है। क्योंकि जब आप किसी की कोई चीज़ चुराते हैं, तो इसका मतलब है कि अब वह चीज़ उस दूसरे व्यक्ति के पास नहीं रही।

Copying is not theft. Because when you steal something it means the other person doesn't have it anymore.

Copying is not theft. Because when you steal something it means the other person doesn't have it anymore.

विज्ञान की प्रगति आज भी "कुछ दूरदर्शी लोगों" पर ही निर्भर करती है।

The progress of science still depends on "a few people of vision".

The progress of science still depends on "a few people of vision".