Hidetaka Miyazaki Quotes

The idea of going on tour for the rest of my life with old works is not that exciting. As an artist I definitely think the work in future is going to be better than the work in the past, otherwise why do it?

If I had done a sequel to 'Day of the Tentacle,' there probably wouldn't have been a 'Full Throttle.' If I did a 'Full Throttle' sequel, there wouldn't have been a 'Grim Fandango.' It's important to make new stuff up.

I just don't want to live in the past. I'm really disappointed by so many people of my generation who - in order to promote their new work, they have to constantly lean on their past. I don't want to be that type of artist... I see a lot of people out here doing really marginal music.

In the past, I always used to be looking for answers. Today, I know there are only questions. So I just live.

Between each album I try to gain a new insight that I didn't have before and perhaps write a song about something that I've written about before, but from a fresh viewpoint.

Being young is an advantage. You've grown up with games as the dominant entertainment. You have a lot of experience of video games. So what do you want to see that's not been done? Innovation is really low cost for you. You can afford to take risks and fail to execute new ideas.

I am a big believer that whatever has gone lies in the past. You should only learn from it, and you should only look at the present and the future. That's been my father's philosophy and mine as well.

Each film and each character is a completely new set of challenges. It doesn't feel like you can rest on something you may have done well in the past.

In the past, I worked for HAL, and when working there, I had limitations and had restrictions on what I could create. They wanted me to make the next 'Smash Bros.' and the next 'Kirby,' and that wasn't the place for me.

Whether it's with a 'Metroid' experience or a 'Donkey Kong' experience, we're constantly looking to push the envelope on the IP versus doing sequential small iterations with a particular franchise.

Our approach is not to look at the successes of other people and try to repeat those successes. We don't look at the success of 'Grand Theft Auto 3' and think that maybe if we create games for older audiences will see a similar success.

If you don't take a risk then what's the point. We can't keep making films in the same space.

I think the best artists find ways to reinvent themselves. They find new ways to tell their stories, or they find new stories to tell.

I believe that 'Dark Souls III' must be developed as its own individual series.

'Dark Souls' is my life's work; everything I came up with for 'Dark Souls III' is based on my personal preferences.

It's true that I'm sad about not being involved in the development of 'Dark Souls II,' because I've worked on 'Demon's Souls' and 'Dark Souls'' development for the past five years.

Dark Souls is in some ways an incomplete game, and I like to think that it has been completed by players, by their discoveries, as they moved along. I'd love to say that the nature of this incompleteness was completely deliberate, but it is both deliberate and by accident in different ways.

I'm not one to restrict the potential that 'Dark Souls' has by insisting that only I can work on the titles.

Throughout history, independent minds have carried mankind forward. Whether they identified how to make fire or manufacture tools, develop rational philosophy or create man-glorifying art, pioneer scientific knowledge or invent the electric light, independent thinkers have created the goods on which human life and prosperity depend.

What we need now is some new, fresh clichés.

I always say this will be my last Metal Gear, but the games in the series that I've personally designed and produced-Metal Gear on MSX, MG2, MGS1, 2, 3, 4, Peace Walker and now MGSV-are what constitute a single Metal Gear Saga. With MGSV, I'm finally closing the loop on that saga.

If artists do have ideas, they're often not great.

Creative Endeavors are by their nature uncertain.

I'm trying to figure out what I can do creatively. It's about trying to find new things and trying to figure out voices and borrowing from things and learning as much as possible so that I have an archive of things to borrow from.

All the best ideas come out of the process; they come out of the work itself.