A Quote by Aldous Huxley
To write fiction, one needs a whole series of inspirations about people in an actual environment, and then a whole lot of work on the basis of those inspirations.
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Usually when I start to work and to prepare the movie, some inspirations, different kind of human beings, it can be someone I know, someone I don't, a girl, a boy. So usually when I start, quite right away, some inspirations come.
I go back and forth between input phases where I'm reading a lot or trying to get out and explore the world a bit and soak up inspirations and then I'll get back into output mode and write and write and write.
Black actors on the road, flying around the country working as poets. Those people are inspirations for millions of kids who write.
As for the historical inspirations I drew on in writing The Snow Queen, I suppose I would call them more cross-cultural inspirations, though they frequently involve past societies as well as present day ones.
I've made clothes my whole life, but I was just naive about the fashion world. But I think it's successful because I've been really involved. Picking the samples, inspirations, color palette.
I'm very passionate about making good films. I want to make good films for the whole world because I think it is one of the biggest inspirations for society.
Some writers, of course, simply write, as they feel they are driven to do, by outer/inner inspirations. If, after the work is written and, hopefully, published, others respond -- that is the Champagne. But we, or some of us, don't write for the Champagne. We write because we write.
I wish I was agile like Spider-Man and everything we do that draws on the childhood inspirations and the adulthood inspirations, for that matter. They're definitely the reason how I am, how I am today, because I was a smaller kid who was a nerd.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
Tim Tebow is one of my biggest inspirations. I actually want to be able to do some of the things that he does in terms of the amount of charity work and the non-profit work, and the way he impacts people off the field. I think that is what is most inspiring to me about him.
I read a quote by James Dean when I was 17; he said, 'I'd rather starve than do a whole bunch of work that I don't care about.' The older I got, the more I understood what he was saying. If I want to do a whole lot of work that I don't care about, then I would probably be working in a law office somewhere.
What I think is so great about interviews, is when people cite inspirations.
You can't be a great mum and work the whole time necessarily; those two things aren't ideal. We have an awful lot to work on and to debate about in relation to our working lives, because it isn't working for a lot of people, particularly for a lot of women.
Even with the 'Top Boy' series with Ashley Walters... I've been talking like on the creative direction wave with Drake about the series. Making greatness with it. The whole style of what's going on in London, the sound, is real. It's an actual thing that actually happened. So it deserves to be on the telly.
I like my 1980s music. That's why I would bring that back, in a new kind of way, for the people of today. Those are my inspirations.
The whole basis of working in black and white and grays became the basis of my understanding of color, because it's all about tone, it's all about light and dark. If you don't get that, then your color work is going to be a mess. So that's the beginning of the toolkit: drawing and black and white media.
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