Creativity: Conversations With 28 Who Excel. Este artículo no está disponible.
Idioma: inglés
Editorial: Momentum Books, Troy, Michigan, 1993
- Primera edición
- Tapa dura
- Usado
Vendedor patrimonial
Librería: Peninsula Books, Traverse City, MI, Estados Unidos de AmericaPeninsula Books
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Condición: Usado - Muy bueno
EUR 11,47
Descripción del artículo del vendedor
Elmore Leonard, Gloria Steinem, Tony Bennett, Ernie Harwell, Anne Jackson, etc. A nice clean, tight and unmarked book. Dust jacket in similarly nice condition with no chips, tears, or markings.; B&W Illustrations; 8vo 8" - 9" tall; 412 pages.
N° de ref. del artículo 10538
- Título
- Creativity: Conversations With 28 Who Excel
- Autor
- Ferguson, Tom
- Editorial
- Momentum Books, Troy, Michigan
- Año de publicación
- 1993
- Estado
- Near Fine
- Sobrecubierta
- Near Fine
- Encuadernación
- Hardcover
- Idioma
- inglés
- ISBN 10
- 1879094118
- ISBN 13
- 9781879094116
- Edición
- First Edition.
"When I see a great short-order cook with grace and great economy of gesture," Gloria Steinem says in these pages, "I think that's taking a human endeavor to its peak."
Others interviewed here offer less encompassing parameters to define the boundaries of creativity.
CREATIVITY: Conversations with 28 Who Excel, however, does not resolve philosophical questions such as "What is creativity?" or "Who is an artist and how did they get that way?" Instead, acclaimed achievers from a remarkable spectrum of disciplines offer invaluable glimpses into private creative cauldrons. Their lessons and insights allow the reader to synthesize his or her own answers to the big questions.
Or better yet, simply to enjoy.
Here, for example, is screenwriter Frank Pierson explaining why he almost killed the classic line "What we have here is a failure to communicate" from his Cool Hand Luke script: "I looked at it and said, 'Oh shit, that's good.' But then my next thought was, 'This redneck can't say that.'"
Or actor E. G. Marshall explaining how he disagreed with Woody Allen's direction in one Interiors scene: "But I did it his way because it was his idea.
Ironically, it turned out that Ingmar Bergman praised that scene and praised me for doing it that way. That's why I always say I shouldn't put myself into the part. I should put the part into myself."
Other masters from fields traditionally labeled as creative - literature, visual arts, music - give the reader similar views inside their professional lives.
No businessmen or doctors are on the roster, but a renowned attorney reveals why preparing for the courtroom is like writing a play. A master chef illustrates how the astute gourmet's aesthetic judgment is clouded by childhood experiences at the dinner table. And a Hall of Fame baseball announcer suggests that a Southern tradition of storytelling helped him become a painter of vivid word pictures for millions of radio listeners.
CREATIVITY is a learning experience but it is not a textbook. It is an anthology of conversations we all would like to have if we were scheduling a thoughtful chat this afternoon with, say, Grant Tinker or Ntozake Shange or Dutch Leonard or Philip Glass or Morgan Freeman.
Bring a picnic basket and get comfortable. You'll want to linger and listen.
Others interviewed here offer less encompassing parameters to define the boundaries of creativity.
CREATIVITY: Conversations with 28 Who Excel, however, does not resolve philosophical questions such as "What is creativity?" or "Who is an artist and how did they get that way?" Instead, acclaimed achievers from a remarkable spectrum of disciplines offer invaluable glimpses into private creative cauldrons. Their lessons and insights allow the reader to synthesize his or her own answers to the big questions.
Or better yet, simply to enjoy.
Here, for example, is screenwriter Frank Pierson explaining why he almost killed the classic line "What we have here is a failure to communicate" from his Cool Hand Luke script: "I looked at it and said, 'Oh shit, that's good.' But then my next thought was, 'This redneck can't say that.'"
Or actor E. G. Marshall explaining how he disagreed with Woody Allen's direction in one Interiors scene: "But I did it his way because it was his idea.
Ironically, it turned out that Ingmar Bergman praised that scene and praised me for doing it that way. That's why I always say I shouldn't put myself into the part. I should put the part into myself."
Other masters from fields traditionally labeled as creative - literature, visual arts, music - give the reader similar views inside their professional lives.
No businessmen or doctors are on the roster, but a renowned attorney reveals why preparing for the courtroom is like writing a play. A master chef illustrates how the astute gourmet's aesthetic judgment is clouded by childhood experiences at the dinner table. And a Hall of Fame baseball announcer suggests that a Southern tradition of storytelling helped him become a painter of vivid word pictures for millions of radio listeners.
CREATIVITY is a learning experience but it is not a textbook. It is an anthology of conversations we all would like to have if we were scheduling a thoughtful chat this afternoon with, say, Grant Tinker or Ntozake Shange or Dutch Leonard or Philip Glass or Morgan Freeman.
Bring a picnic basket and get comfortable. You'll want to linger and listen.
“Sinopsis” puede pertenecer a otra edición de este título.
Reseña del editor
"When I see a great short-order cook with grace and great economy of gesture," Gloria Steinem says in these pages, "I think that's taking a human endeavor to its peak."
Others interviewed here offer less encompassing parameters to define the boundaries of creativity.
CREATIVITY: Conversations with 28 Who Excel, however, does not resolve philosophical questions such as "What is creativity?" or "Who is an artist and how did they get that way?" Instead, acclaimed achievers from a remarkable spectrum of disciplines offer invaluable glimpses into private creative cauldrons. Their lessons and insights allow the reader to synthesize his or her own answers to the big questions.
Or better yet, simply to enjoy.
Here, for example, is screenwriter Frank Pierson explaining why he almost killed the classic line "What we have here is a failure to communicate" from his Cool Hand Luke script: "I looked at it and said, 'Oh shit, that's good.' But then my next thought was, 'This redneck can't say that.'"
Or actor E. G. Marshall explaining how he disagreed with Woody Allen's direction in one Interiors scene: "But I did it his way because it was his idea.
Ironically, it turned out that Ingmar Bergman praised that scene and praised me for doing it that way. That's why I always say I shouldn't put myself into the part. I should put the part into myself."
Other masters from fields traditionally labeled as creative - literature, visual arts, music - give the reader similar views inside their professional lives.
No businessmen or doctors are on the roster, but a renowned attorney reveals why preparing for the courtroom is like writing a play. A master chef illustrates how the astute gourmet's aesthetic judgment is clouded by childhood experiences at the dinner table. And a Hall of Fame baseball announcer suggests that a Southern tradition of storytelling helped him become a painter of vivid word pictures for millions of radio listeners.
CREATIVITY is a learning experience but it is not a textbook. It is an anthology of conversations we all would like to have if we were scheduling a thoughtful chat this afternoon with, say, Grant Tinker or Ntozake Shange or Dutch Leonard or Philip Glass or Morgan Freeman.
Bring a picnic basket and get comfortable. You'll want to linger and listen.
Others interviewed here offer less encompassing parameters to define the boundaries of creativity.
CREATIVITY: Conversations with 28 Who Excel, however, does not resolve philosophical questions such as "What is creativity?" or "Who is an artist and how did they get that way?" Instead, acclaimed achievers from a remarkable spectrum of disciplines offer invaluable glimpses into private creative cauldrons. Their lessons and insights allow the reader to synthesize his or her own answers to the big questions.
Or better yet, simply to enjoy.
Here, for example, is screenwriter Frank Pierson explaining why he almost killed the classic line "What we have here is a failure to communicate" from his Cool Hand Luke script: "I looked at it and said, 'Oh shit, that's good.' But then my next thought was, 'This redneck can't say that.'"
Or actor E. G. Marshall explaining how he disagreed with Woody Allen's direction in one Interiors scene: "But I did it his way because it was his idea.
Ironically, it turned out that Ingmar Bergman praised that scene and praised me for doing it that way. That's why I always say I shouldn't put myself into the part. I should put the part into myself."
Other masters from fields traditionally labeled as creative - literature, visual arts, music - give the reader similar views inside their professional lives.
No businessmen or doctors are on the roster, but a renowned attorney reveals why preparing for the courtroom is like writing a play. A master chef illustrates how the astute gourmet's aesthetic judgment is clouded by childhood experiences at the dinner table. And a Hall of Fame baseball announcer suggests that a Southern tradition of storytelling helped him become a painter of vivid word pictures for millions of radio listeners.
CREATIVITY is a learning experience but it is not a textbook. It is an anthology of conversations we all would like to have if we were scheduling a thoughtful chat this afternoon with, say, Grant Tinker or Ntozake Shange or Dutch Leonard or Philip Glass or Morgan Freeman.
Bring a picnic basket and get comfortable. You'll want to linger and listen.
“Acerca de” puede pertenecer a otra edición de este título.