A Quote by Robert Sternberg
I'm more of a creative learner, ... I do very well in projects, but I was not good at memorizing all of that material in the introductory courses.
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Material comes all kinds of ways, and it's never a question of a lack of material or a lack of projects - I have tons of projects. The issue is to convince someone to give you the money. And it's a very different business than it was just 8 years ago.
And ultimately, it's good for all of us to have more original programming on the air. Business doesn't drive the creative. So, in identifying a project like Dovekeepers, looking at something like Extant and looking at Under the Dome, it was about falling in love with a piece of material, getting excited by the creative direction, hearing a vision, and getting excited about the potential for those projects and building the business model around it. And they're not all modeled the same way. Every one is different.
I thought I was a good teacher until I discovered my students were just memorizing information rather than learning to understand the material.
I suggest that the introductory courses in science, at all levels from grade school through college, be radically revised. Leave the fundamentals, the so-called basics, aside for a while, and concentrate the attention of all students on the things that are not known.
The idea that time is an illusion is an old one, predating any Times Square ball drop or champagne celebrations. It reaches back to the days of Heraclitus and Parmenides, pre-Socratic thinkers who are staples of introductory philosophy courses.
When the material written is very good then half of your work is done by the writer itself. When there's a well-defined character written, then the attempt is to be as honest to the material as possible.
If you are a certain kind of hands-on learner and have been in a writers room and know how scripts get made, and you know what pre-production is, then mostly it's making sure the actors get what they need, and you are providing creative oversight while allowing room for everyone else to own the material, too.
I was a very, very slow learner. I was good at nothing.
Teachers craft classrooms that are good matches for their teaching styles as well as for learner needs.
I was in musical comedy. And I did very well, but the memorization killed me. I'm not good at memorizing, and it gave me a lot of anxiety. I hated the makeup. I hated all that pancake makeup. I didn't really like dressing for parts.
It was mainly to do with Helen Hunt, to be honest. That's what drew my attention to it. I was interested in the fact that she was going to be directing. I'd never met her but she projects a degree of intelligence and it was convincing t me that she'd be able to handle this sort of material very well.
Many creative people are finding that creativity doesn't grow in abundance, it grows from scarcity - the more Lego bricks you have doesn't mean you're going to be more creative; you can be very creative with very few Lego bricks.
I was a general business major, which meant that in any business school and particularly at Smith School, which is a very good school, you do a lot of team projects. Well I was the guy who gave the presentations for the team projects.
The inspiring thing is that people are often more experimental with their desserts than other courses. It allows me to be more creative and excite people.
I am pretty sick with myself! It seemed a pretty good idea at the time. Around the time I turned 30, I started to feel very creative, more creative than I had been before which is good and I like that.
I put out a lot of different kinds of material, and maybe people read that as egotistical. Or maybe, since a lot of it does involve some aspect of me, they find it self-aggrandizing. But there’s a long tradition of artists using themselves. Look, I know I’m not perfect. And, who knows, maybe a part of it has to do with self-obsession. But it’s also about using this weird thing that is a public persona as raw material for creative projects.
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