Certainly, there are very few wholly original ideas in the world; there are usually people coming to the same conclusions or carrying out experiments, whether publicly or privately.
Disney usually doesn't do pitches for original ideas.
Some of us have great original ideas and some of us depend on adaptations.
In big science, the role of the individual scientist must be carefully preserved. So is the one of original ideas and of contributions.
'Original Sin' is one of those ideas that has been circulating for several years at the Marvel retreats we have a couple times a year. We have all these ideas floating around for a bit before we figure out how to align them.
I have a bit of a love affair with fairy tales and some of the ideas of Irish mythology, like Oscar Wilde and W.B. Yeats, who captured a lot of that very beautifully.
One big promise of the Internet was that it would be a great democratizing force, allowing us to become exposed to new ideas that we might not otherwise encounter in our town, workplace or social circle.
Outlining is not writing. Coming up with ideas is not writing. Researching is not writing. Creating characters is not writing. Only writing is writing.
Death can never kill an idea. Ideas are more powerful than death. Ideas outlive men and can never be destroyed.
In the housing projects, people talked of ways to reduce crime, relieve overcrowding, and they were good ideas that we plan to study, and possibly implement.
I have ideas. I hear voices. Words accumulate. It's still an overriding impulse. And I'm self-employed, which means I have to be sensible and motivated about paying the bills.
Few new truths have ever won their way against the resistance of established ideas save by being overstated.
My process for determining which eras I'd write about was to just read history books that gave a really broad overview of Chinese history. And when I came across a historical figure or a historical incident that was especially interesting to me, ideas for characters and stories would surface.
I usually start from the most general to the more specific. I'll get an emotional overview for the film as a whole, trying to pinpoint what the musical identity is and come up with thematic ideas - any ideas that identify as succinctly as possible what the film is.
As chefs, we work with organizations like Oxfam to enrich their projects with culinary tools, recipes and ideas.
I like hearing from everybody and not just my co-screenwriters or producers. For example, while on set, I find it valuable to turn to my PA and ask, 'What do you think? Is this scene working? Do you like what you see? You got any ideas for that line there because that idea isn't working for me.'
I spend most of my days pacing around, muttering that I have no ideas, feeling like I'm walking a plank.
I get ideas about what's essential when packing my suitcase.
I have ideas every day, and if I'm not carrying a pad of paper, I'm typing it into the notes thing on my iPhone, and it's just ridiculous - idle hands are the devil's plaything, and I can't be the devil's plaything. I got to be the devil; I got to be the guy making it all happen.
I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason.
