Creative work is more accurately a machine that digs down and finds stuff, emotional stuff that will someday be raw material that can be used to produce more stuff, stuff like itself - clay to be available for future use.
If we didn't have any stress, we'd never grow and you'd probably wouldn't test your mettle and you'd probably wouldn't come up with a lot of creative stuff that people come up with by being somewhat on the edge.
You do stuff that gets a reaction and you think 'that's a winner' and then it never sees the light of day. But the thing with improvisation is that 90% of what you come up with won't be used and for good reason. But you keep going for the occasional gem that you might come up with. You do a scene and a lot of the time. We wouldn't cut. So, you come up with something that might be funny and then you go, 'alright, what else'? So, you kind of throw stuff against the wall and see what happens. But you've got to be prepared to make a fool of yourself.
The most unresolved problem of the day is precisely the problem that concerned the founders of this nation: how to limit the scope and power of government. Tyranny, restrictions on human freedom, come primarily from governmental restrictions that we ourselves have set up.
What we want as an economy is companies and people, you know, working hard to come up with creative ways to be more productive. We don't want companies and people working hard to lobby government for special tax cuts.
One of the good things is the relationship between director and editor used to be more contentious. Studios used to leave directors alone more during the post production process and now they're clamoring to get in. So, the director and the editor end up teaming up sort of against the studio to fight what they're doing and you lose the creative tension that you used to have between an editor and a director.
I'm always working my own thing. A few times a week - I try to not go too crazy - I'm working with some other artist. But I'm constantly working my own stuff, and my own stuff seems to come in little bursts.
If you can last long enough, in success, you have to get really creative and come up with new stuff.
The real tough thing is working with actors. I'm a designer and used to working with artists, so there is some familiarity with the personalities that come up, but actors are their own animal.
In terms of the creative side of it, it's really been a thing where you come up with the funny stuff is usually at a bar or out talking to people or whatever.
And I have the support of the writers: I have a great relationship with the creative team, and they have a good hold of my character and my personality, and they come up with some great stuff, and I'm forever trying to change it up, keep it fresh.
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.
I have some property. We have a few acres, so I like working on it, whether it's cutting stuff down, cleaning stuff up, building steps, or working with concrete, you know, brickwork.
For me, restrictions are not always negative. Restrictions can push creativity. I like restrictions.
From the beginning of time, business has cozied up to government and gotten restrictions on competition and subsidies and stuff.
When I'm playing any of my characters, I totally go into the realm of the character. That's when I'm able to come up with the most creative stuff, and I believe that's what connects with the audience.