I'm forced into the choice of having, you know, two actors who can probably half sing or two musicians who can half act. And he says, I'd rather, if it's a musical film, I'd rather have two musicians who can half act. And I'll get a performance out of you. And he says, as long as the music's convincing, I think people are going to believe it.
The American way is that you should always know what you're doing. You've made a decision and you should stick with it. But the fact is that no writer knows what they're doing until they've done it. The way that you get to the miracle of writing is bird by bird.
Adults spend so much time in environments where they're trying to control the outcome that play as a practice becomes about not knowing, not having an attachment to what the outcome is. Side quests release us from worrying about the outcome. Learning begins with inquiry. In fact, the word quest comes from the root question or inquiry.
Because filmmakers were never remembered for their tools -- they were remembered for their stories, for their ability to move audiences, for their vision.
I've got a doctor. His name is Dr. Footlights. Her name. Her name is Dr. Footlights. And when I stand on that stage, and when those lights come up, and when the audience greets me, the pain disappears.
The the joy to me the great pleasure and joy of fashion is that it actually is much more present in our lives than art is. You know, I think to to see art, one has to seek it out. But, you know, when you're walking down the street, you can see so much information and create these beautiful narratives in your mind by seeing what other people are wearing.
Is the oxymoron really "the secret sauce to everything"? That's the case Ingels makes in this debut episode of our new video show Better in Person, filmed in Stephen Dubner's living room.
You can go and recreate Interstellar perfectly, but at the end you just have Interstellar which already exists and is available to stream and so you didn't really get anything in the process. you have to bring something special to the table.
Queer space is about sharing. Yes, we're making space for ourselves, but we're also sharing ourselves and we're inviting people into our circle. We're being generous. Maximalism is generous. It's everything. It's the cake. It's the flour, the eggs, the sugar. It's the oven. It's the heat. It's the love that was put into all of it.
I thought, am I losing my mind or is this one of the best songs I've ever heard in my life? Well, possibly both. But I was thrilled and amazed. And they looked at me for some kind of reaction and I said, I think that's amazing. And perhaps the biggest giveaway is the fact that I immediately asked them if they could play it again. And perhaps the second giveaway is the fact that they were delighted to play it again.
Maximalism is generous. It's everything. It's the cake. It's the flour, the eggs, the sugar. It's the oven. It's the heat. It's the love that was put into all of it. It's the mouth. It's the smile. It's the party. All of it! Because you can't have one without the other.
This is maximalism. Not only is it layer upon layer aesthetically, it's idea on top of idea conceptually. It becomes its own story almost, that you can almost read like a book.
I think that when I saw that movie for the first time, and I had a Lionel electric train set, and by actually crashing the train into things and watching the train derail and watching the passenger cars and a couple of boxcars and a caboose pile up, I was able to, I think intuitively, wrest back control of my fear. And I really think it helped assuage the fear. It helped me get in total control over it. So I was the one causing something that was going to maybe have a chance to scare other people but no longer myself.
Maximalism is generous. It's everything. It's the cake. It's the flour, the eggs, the sugar. It's the oven. It's the heat. It's the love that was put into all of it. It's the mouth. It's the smile. It's the party. All of it. Because you can't have one without the other.
The more open you can be to be completely devastated by something, the more possibility opens up to you. And I think that that's true in life, I think that's true in love, I know that that's true in sport.
AI is best understood not as a replacement for artists, but as another creative tool, one that expands what's possible while making taste, curiosity, and individual perspective even more valuable.
My exploration with AI allowed me to build a new world. But this wasn't really AI [who] designed this place. I found it as a beautiful tool, but I feel sorry for its lack of humor, of beauty and joy.
Where social media takes people to the extremes, AI takes everyone to the middle and it's very moderated and so creativity has never been more important.
What I loved about jellyfish is they kind of resist all efforts to see ourselves in them. You look at a jellyfish and have to ask yourself, "Where is its mouth? Where are its eyes?" And I think that makes something a very good candidate for a monster, because what is a monster if something that we can't relate to and can't see ourselves in at all.
We've reduced play to be this cherry on top of an already good life. But from a scientific perspective, it is much more fundamental than that. Play is what happens anytime we choose to do something without knowing exactly where it's going to end up.
I wanted to create a space where we could reconnect with our childlike wonder, which I think especially for black people and minorities can get stripped away over life and you don't even realize when it's happening, how it's happening. It it's getting stripped from you day by day through our experience.
We are living through a play deprivation crisis. We've systematically removed everything that makes play what it is — the spontaneity, the freedom, the wonder — from all parts of adult life and replaced it with efficiency and achievement. And in doing so, we're losing the very survival skills that we need the most right now.
I could see myself becoming that Hari Krishna, wanting to testify about the greatest love in my life, which is reading. So great is my need to share this love that it outweighs my significant need for privacy.
Most people assume that creativity is a fixed trait — you either have it or you don't. But research suggests that creativity is less like a gift and more like a muscle: it can be developed, strengthened, and yes, sometimes exhausted.
Most people think about creativity as something that just strikes you — like a bolt of lightning. But research suggests that creativity is less about sudden inspiration and more about the associations your brain makes between concepts. The more unusual and distant those associations, the more creative the idea.
Most people think about creativity as a gift — something you either have or you don't. But research suggests that creativity is less like a trait and more like a muscle: it can atrophy if you don't use it, and it can grow stronger with practice.
Psychologist Ap Dijksterhuis explores the hidden mental processes that lead to these moments of inspiration, and why breakthroughs often emerge when the mind is at rest.
AI is not built to do that ever. I mean the the the the tool itself is built to give you the most predictable outcome possible, the antithesis of what we're trying to do when we make a TV show or a film.
I do think the purpose of life is exploration. So, how could answers to the unknowable questions of the universe from a from an advanced species, how could that not be catnip? How could you not want to go? But my life as a writer has been about exploration here. How could I not stay?
Most people think that creativity is something you either have or you don't — that it's a fixed trait, like eye color. But researchers who study creativity say this belief is not only wrong, it may actually be preventing people from thinking creatively.
We worry so much about the blank page or the blank canvas. But research suggests that placing too high a premium on originality can actually be a creativity killer. When we feel we have to be original, we become self-conscious, and self-consciousness is the enemy of creativity.
For centuries, people have described creativity as something mysterious: a flash of insight, a whisper from the muse, a sudden idea that seems to arrive out of nowhere.
Most people assume that creativity is a trait — you either have it or you don't. But research suggests that creativity is less like a fixed ability and more like a muscle: it can be strengthened with practice, and it can also atrophy when it goes unused.
Most people think of creativity as the production of something new. But Ogas and Rose argue that creative breakthroughs almost always involve making unusual connections between existing ideas. They say that highly creative people are essentially librarians of their own knowledge and experience — constantly cross-referencing and combining things in ways that others don't think to do.
The problem is that we're often led to believe that we need to think outside the box, but actually the most creative solutions often come from people who have gone so deep into a box that they understand the nuances and the constraints so well that they can find new pathways within it that others couldn't see.
Will Durant spent his whole life worrying that he was a failure. He wrote 13 volumes of The Story of Civilization over 50 years, a project so vast it seems almost incomprehensible. And he was worried he was a failure.
What if the actual reward is not accomplishment but the act of creating? The finished products and trappings of creative accomplishment are often seen as the goal. But I believe that the act of making is like oxygen. When the making stops, it becomes hard to breathe.
What do the inventor of the periodic table, the novelist Isabel Allende, and the almost-creators of the iPhone have in common? Join author David Epstein and EconTalk's Russ Roberts to explore a counterintuitive idea: that boundaries, and not unlimited freedom, often make us more creative, productive, and fulfilled.
