Harold Prince Quotes

I never imagined myself doing a one-man show. If I'm going to do one, I'd rather do one that breaks all the rules.

I like directors who come on the set and create something that's a little dangerous, difficult or unusual.

On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.

There's no such thing as a cautious creative.

I admire actors who are bold and try to go forward over the cliche and propose something original to the audience.

It's dangerous to think too much about how a film will be received. Filmmaking is not a popularity contest. Some would disagree.

I do know one thing: I wish people were doing more dangerous musicals, more courageous musicals and not just falling into the trap of trying to figure out what the public wants, because you find out that the public very often wants what's good.

A lot of producers and creative types want to see you be you. Throw something else out there and show them where you would take this part. A lot of them are launching shows for the first time, so they've got a lot riding on this, too, and they want you to be their flight.

Creativity shouldn't be following radio; it should be the other way around.

My strength as a TV writer was my total lack of interest in television.

Since I was in my early twenties, at ABC, I was always only interested in things that were not already being done.

I think I would do a much better job if I had a chance to do things that were edgier than I get to do in comedies.

I admire James Franco. I admire somebody like Jack Nicholson. Anyone who just does movies for the sake of making movies and takes big risks.

I've realised that if I aim for a successful record, I probably won't have any success. But if I keep making weird things, then hopefully the audiences will come to us.

I have always taken risks. I like doing films which are different.

I have always chosen subjects which are little different, and not subjects that you see. That challenges me and the actors who work in the project.

I suppose that I'm excited by exciting theater. It takes a risk to show us the world in a new way.

I always look for projects that are risky and ones that want to do something unique. If audiences don't like it, you feel good knowing that you were brave enough to do something original. If they do like it, you feel like everyone is rewarded, because we all got to see something new.

If you make a strange, eccentric record - like the Velvet Underground's 'White Light/White Heat' - it takes on its own mood because it's less about a shrewd marketing plan; it's more about an individual emotion.

If you are working in a publicly subsidized building, then you have a responsibility to deliver truly interesting, risky, innovative, even provocative work. Work that speaks to your audience in many resonant ways. The priority is less about the financial rewards.

There's a certain type of theatre that I haven't got any time for at all - established, boring, same-old stuff without any reason or passion. There's quite a lot of it about, and it motivates me to try to do something different, something risky, raw, ugly, and challenging.

As an artist, I have been a risk-taker. And I've done a lot of different things. I don't make it easy for people. Identification is difficult. One doesn't recognize my art right away.

Risk is what separates the artist from the artisan.

If movies have to satisfy every possible quadrant before they're even made, they're dull. You only get great things when people overreach themselves.

I'd rather take risks than make something that's cookie cutter.