Creative Process Struggles

Table of Contents

• Mapping and Planning Challenges
• Visualization and Intention
• Trial and Error
• Time and Patience
• Organic and Emotional Process
• Other

Mapping and Planning Challenges

Mapmaker mapmakermake me a mapone to one scale, without a single gap.Map every rock,every thought, every treeand erase all the territory.

Can I just ask for an outline –”“Doesn’t work like that. You need a leap of faith to leave your old life behind. True metamorphosis doesn’t come with flowcharts.

Plotting is an organic, and wildly inefficient process of trial and error.

We have a series of maps for the board to pour over that take you through the process we went through for the design.

We went back to square one. We're starting with the basic fundamentals. We just had to choreograph every step, every movement.

We've been working a long time and have gone back to the drawing board several times, so we feel that it's very comprehensive.

I do a lot of planning and plotting. That’s my greatest weakness. If I’m not terribly careful, I’ll plan to a point where it could come out cut and dried.

But the biggest problem of map-making is not that we have to start from scratch, but that if our maps are to be accurate we have to continually revise them.

With 'Hannibal,' it's like reactive scoring so I don't get ahead. I don't read a script; I don't want to know what's going to happen until its happening in front of me and I'm able to have an instrument in my hands that I'm playing to make some kind of a map, some sort of tonal map, that I can then build on.

My struggle over the years has constantly been, it only takes 10 minutes, or an average shower, to come up with a mini-series or two, but it takes a year to draw them. So for me, it's been just trying to find a way to get all these ideas and all these incidents on paper.

I never map things out in advance. It would be better if I did and more economical in terms of time, but I've found that if you work out a plot line from beginning to end, at the beginning it becomes very rational.

You need a leap of faith to leave your old life behind. True metamorphosis doesn't come with flowcharts.

Visualization and Intention

I want to see if I can. I don’t know if I can. I want to find out. I want to see. I’m going to do what I always do: I’m going to break it down to its smallest form, smallest detail, and go after it. Day by day, one day at a time.

Visualize what you want to do before you do it. Visualization is so powerful that when you know what you want, you will get it.

If you don’t give yourself a moment to visualize the clear results you want to create, then you are less likely to achieve what you desire.

The clearer and stronger your intention, the more quickly and easily your creative visualization will work.

I'm a huge believer in visualizing achieving the task before it happens.

I think very fast and visually and I have to write down an idea right away or it will be lost forever.

I tried to fill out the grid and I was just horrible at first. I made all of the typical beginner mistakes.

One thing I've tried to never do is make wish lists. I try to have a very steppingstone mentality about this whole thing, where as soon as you make one step you visualize the next step, not five steps ahead.

You can see from a flow diagram who depends on you and whom you can depend on. You can now take joy in your work.

You go back and evaluate those things and see if you can't go back to the drawing board and do something about it.

Even the best guide you can ever have is the visual imagery on how you mix these things together,

Most demos take 20 minutes or 40 minutes or -- God help you -- longer to get to the point.

Trial and Error

Sketch what you got, it will determine what you will be.

I just started off on my own by learning the regular chords then the barre chords. Then I'd lean the notes that would go with them.

I don't have the educated knowledge of what textures, colors, shapes and spaces need to be put together to make something just right. I'm learning it by trial and error, which is something that's slow going.

In drawing, nothing is better than the first attempt.

I don’t have the educated knowledge of what textures, colors, shapes and spaces need to be put together to make something just right. I’m learning it by trial and error, which is something that’s slow going.

If the gag is complicated, you spend more time thinking about the way you’re drawing it.

I have, as it were, constructed a lay-figure for the purposes of a demonstration which I desired to be as rapid and as impressive as possible.

I'm very slow, and I do everything myself. I remember I spent three days to change the size of something I had sketched because I felt it was too small.

Sometimes I sketch and then scan my sketch directly to make the curves more freehand. I don't want to make perfect industrial curves.

The way I work is by infinitely playing a very simple loop over and over, and then I start layering things.

I do a lot of planning and plotting. That's my greatest weakness. If I'm not terribly careful, I'll plan to a point where it could come out cut and dried.

I tried to fill out the grid and I was just horrible at first. I made all of the typical beginner mistakes.

Time and Patience

And for every project, because it takes years, you can see the early drawings and collages as just a simple, vague idea, and through the years and through the negotiations of getting the permit, you see that every detail is now clarified.

I was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.

I need six weeks of rehearsal and women need nine months and it took me 15 years to figure that out

I'm very slow, and I do everything myself. I remember I spent three days to change the size of something I had sketched because I felt it was too small.

When I'm menu-developing at Milk Bar, I'll go for weeks at a time where all I'm doing is testing out layer cakes or different cookies and testing out changes.

I don't want to do procedural: I want to do longform.

If I have to look a certain way for something, I know how long it's going to take me do it.

I’m very slow, and I do everything myself. I remember I spent three days to change the size of something I had sketched because I felt it was too small.

I worked with my coach to develop some new spiral variations to make my program more interesting. Each one is different and you’ll have to wait until January to see them.

I need six weeks of rehearsal and women need nine months and it took me 15 years to figure that out.

I never even visualized for a second doing what I'm doing.

My struggle over the years has constantly been, it only takes 10 minutes, or an average shower, to come up with a mini-series or two, but it takes a year to draw them. So for me, it's been just trying to find a way to get all these ideas and all these incidents on paper.

Organic and Emotional Process

"Figure shaped like a perfect eight;" put it sideways, even if it takes forever, "that’s how long I’ll wait."

I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.

Struggle to sketch the flow that already exists intact in mind.

You have your structure, but within it, it gets fuller and you can highlight other parts of the performance.

The best diagrams are in 3-D. The best diagram is you.

My drawings have to be quick. If they don’t happen in 20 minutes or a half hour, then they’re no good.

I worked with my coach to develop some new spiral variations to make my program more interesting. Each one is different and you'll have to wait until January to see them.

Maybe I should have used them a bit earlier, but it was easier to get through the fifth set.

You can do everything towards a certain action but you'll achieve nothing if you don't sketch it on paper first

I could sketch out a score in different keys, a new way each time.

I want to try it to see what it's like and see what my stuff looks like when I take it from inception to completion.

Show me your flowcharts and conceal your tables, and I shall continue to be mystified. Show me your tables, and I won't usually need your flowcharts; they'll be obvious.

Other

My drawings have to be quick. If they don't happen in 20 minutes or a half hour, then they're no good.

I never even visualized for a second doing what I’m doing.

Show me your flowcharts and conceal your tables, and I shall continue to be mystified. Show me your tables, and I won’t usually need your flowcharts; they’ll be obvious.

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