A Quote by Craig McCracken
Basicly I'm in charge of all creative aspects of the show.
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I love the idea of being able to be creative or be successful and have business and creative things and all of that and not have to choose one thing. I think it has really made me grow in so many aspects.
There is a charge For the eyeing of my scars, there is a charge For the hearing of my heart - It really goes. And there is a charge, a very large charge, For a word or a touch Or a bit of blood Or a piece of my hair or my clothes.
I've always had a really great time being in movies and writing music when I get home. The more creative I am, the more it feeds into other creative aspects of my life.
One big lesson I learned from movie [making] was I don't do creative projects that I headline unless I have all the control. I can't deal with having to live with other people's screw ups, and that's just sort of the way the movie business works. The people with the money are in charge. Until I'm in charge, I don't want to play that game.
I believe that the profits will come from the quality of your creative products. Since the beginning, I've always wanted to develop a self-feeding circle of creative productions: the positive financial returns from one show would be used to develop and create a new show, and so on.
It is true that many creative people fail to make mature personal relationships, and some are extremely isolated. It is also true that, in some instances, trauma, in the shape of early separation or bereavement, has steered the potentially creative person toward developing aspects of his personality which can find fulfillment in comparative isolation. But this does not mean that solitary, creative pursuits are themselves pathological.
First, I charge a retainer; then I charge a reminder; next I charge a refresher; and then I charge a finisher.
The early years of Hanna-Barbera were more fun than the later ones. I was working more in the creative areas of timing and direction then. But as the studio grew, I became more involved in administration and got away from the creative aspects.
The labels are in a jam. For a company to do well in music now, it's got to be in all aspects of the business. And Live Nation is the risk-taker. It's leading the charge.
I was running the show on 'United States of Tara' and 'How To Make It In America' where I could say, 'Okay, I'm in charge of everything now.' But it still wasn't my show.
Basicly what I had to do was do a 7 minute board and pitch it to a room of big wigs from the network and based on that they determined if I would get a short or not.
If you really want to show power in its larger aspects, you need to show the effects on the powerless, for good or ill - the human cost of public works. That's what I try to do, show not only how power works but its effect on people.
To be an actor, it's really tough to find your own voice because you're always tied to other characters and going to auditions and trying to get a job, hoping they'll pick you. And I think it's just so important for an actor to have something else that's creative, something that's creative and you're in charge of.
I'm definitely one of those people that what comes into my head falls out of my mouth. That's a way for me to be even more creative, to sort of get the ball rolling and start parlaying off of somebody and interacting. That charge or that friction sometimes - if it's positive or negative - is inspiring, and it gets people to be I think creative, maybe.
For a writer, working in television is an incredibly rewarding medium. You're in charge of all aspects of production and get to see your vision come to life every week.
Managing the creative process means selecting the best people and then letting them do their work. That means nurturing. It also means, from time to time, creating drama - even uncertainty - so that the creative environment has an edge to it, a charge, and does not run out of steam.
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