A Quote by Julia Holter
I prefer to work with mystery, but that doesn't work well in an academic environment. They want you to analyze what you're doing, which is toxic to the creative process for people like me.
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As an academic I feel I should intellectualize and theoretically analyze when all I really want to do is let the work take me somewhere, manipulate me, and then rough me up a bit. When it comes right down to it, I only want to spend time with work that makes me think and teaches me something while making my body react.
We usually evaluate creative process in terms of how much feeling or thinking was behind the work or how well the work was done. Isn't there any other way of appreciating the process? What if the standard of excellence was how fully present the artist was during the process?
My process of working is not really that unique. I like to paint during the day, and block out large chunks of time with which to work. I prefer to work on a painting in a few swift passes, and not fuss over it. I think that the work needs to have an energy to it that can't be accomplished if one is adding a few strokes everyday. Once a piece is done, I don't work on it anymore. I hate fussy.
At the deepest level, the creative process and the healing process arise from a single source. When you are an artist, you are a healer; a wordless trust of the same mystery is the foundation of your work and its integrity.
The model we established was to give creative people complete creative freedom in exchange for betting on themselves, so they work for the minimums you're allowed to work for, and if the movies work in a big way, everyone does very well. If the movies don't, nobody loses too much money. The benefit to doing all the movies low budget is we can tell different types of stories and take creative risks. The Purge would have been irresponsible to do for $20M, but to do it for $3M makes sense.
I would just like to say this about all the married people working together on the set: it was just a joy. That is the great joy to go to work with people that you love, whether they be people that you are in love with or people that you just love and be creative and artistic and make things that you want to send out into the world and make people feel good. It was a great environment to work in for me.
I think, always, with a new book, I get nervous. I think mostly it is because work is really important to me, and a book doing well is important because it buys you another one. Not because of the money but if you keep doing interesting work, work that people like, they will want you to do more, and offers that are interesting come in.
The creative process for me doesn't work as well without an image of an audience in mind.
I started doing 'figures', then, one day, all of a sudden, I started doing abstraction. And then I started doing both. But it was never really a conscious decision. It was simply a question of desire. In fact, I really prefer making figurative work, but the figure is difficult. So to work around the difficulty I take a break and paint abstractly. Which I really like, by the way, because it allows me to make beautiful paintings.
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.
Productiveness is your acceptance of morality, your recognition of the fact that you choose to live-that productive work is the process by which man's consciousness controls his existence, a constant process of acquiring knowledge and shaping matter to fit one's purpose, of translating an idea into physical form, of remaking the earth in the image of one's values-that all work is creative work if done by a thinking mind.
I wanna work with filmmakers that love, are enthusiastic about their process - about the process - about their process and the environment of inclusion and collaboration. I want the people to be able to trust me, and I wanna be able to trust them.
If we want the world to be a better place to live, we have to treat it as one unit. If we want economic growth to be pervasive, we have to make people its partners. If we want the process of development to be sustainable, we have to work with the environment.
Well, it's not all the same, but there are a lot of parallels. I'm not sure how to answer [on psychology background], but I think when I was studying psychology I had a professor and a friend who would talk about "process" all the time. Your process, his process, the group's process. There's some carryover from that discussion to my creative work.
I've often heard academics disparage non-academic writing in terms that suggest it could be a negative in the tenure process, irrespective of the quality of academic work under review.
I like to work; I like to be creative. I work in the entertainment industry where work may come up, and it may not, so I wanted to do something proactive. I've got a brain; I don't want to just sit at home - I want to do as much as I can.
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