Paul Weller Quotes

The real risks for any artist are taken in pushing the work to the limits of what is possible, in the attempt to increase the sum of what it is possible to think. Books become good when they go to this edge and risk falling over it -when they endanger the artist by reason of what he has, or has not, artistically dared.

I want to change things with everything I do, not for the sake of changing things, but for the sake of taking greater and greater risks, or how minimalist I might be able to be, or how I can involve elements or ingredients in music videos that are not musical, for instance.

Everything that an artist does is a risk. Some people want you to stay the same. If you want to evolve, they want to keep you in a certain place.

The artists I look up to are the ones who push their own limits.

In subsidized theater, you are encouraged to take risks. It's about being imaginative and artistic. That's the priority. It might not be a success, but let's try.

I like artists that tend to be more interested in reinventing themselves, in experimenting.

I guess I'm part of the art house, but we really have to shake up our ideas, because we're kind of self-parodying ourselves. We go places commercial cinema doesn't go, but sometimes it's to our own detriment.

I really admire artists that are willing to take a different approach and a different angle to their shows.

I like people that challenge their art, not only in the purist way, but also in terms of how they could provoke and make something different.

My heroes were Dylan, John Lennon and Picasso, because they each moved their particular medium forward, and when they got to the point where they were comfortable, they always moved on.

I want to work with performers who really are ready to lose their minds, you know? People who are established and have talent, but who are ready to break new ground and really be cracked open in a new way.

It was actually the enormous risks I took with my pictures, skating right up to the edge of non-acceptance, that paid off so handsomely.

The task of the artist at any time is uncompromisingly simple to discover what has not yet been done, and to do it.

One of the biggest things happening in the art world is this idea of expansion. No one embodies this aspect of what art is becoming better than James Franco.

That's the joy of art - it should be dangerous and challenging but it's just art - it's safe.

I've always been inspired by artists who have shown musical and intellectual curiosity and the courage to take risks.

I feel like every artist has an opportunity to create something new and to challenge themselves to reach out to a new crowd.

People sometimes get a little extra criticism when they try something that they don't normally do, but I think that's just a natural thing for artists. It's like, 'Okay, I did that, and now I want to try this.'

I think if you don't risk something in art, it's not really important.

Just finding ways to be not provocative for provocative's sake, but to show an idea that hasn't been shown before, I mean that's interesting to me.

When I'm at my best, I'm trying to destabilize myself and figure out new ways of approaching art as a provocation. I think I am at my best when I push myself into a place where I don't have all the answers.

Californian artists are kind of willing to push the limits a little bit further just because that's kind of our mentality in that state.

If people respect us as artists, they know we'll give them something different every time; they know we're pushing ourselves.

Creative life should be more than preaching to the converted, more than going for a core audience of 100,000 people. It should be taking risks, challenging the readership and having enough faith in one's own talent and craft to take readers on that ride.

The reason I did 'PPNH' was because I wanted to do something different, wacky, and mainstream after 'Barfi!'