Jonathan Glazer Quotes

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.

I consider all my films experiments.

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

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

I think I come from a time when all the artists I grew up with and I loved always used to try and push the boundaries, and there doesn't seem so much of that, really.

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.

On the ridge where the great artist moves forward, every step is an adventure, an extreme risk. In that risk, however, and only there, lays the freedom of Art.

The only pictures worth making are the ones that are playing with fire.

I'm an experimental artist in a field that doesn't celebrate experimentation. It celebrates self-destruction, which I guess you could say is a creative endeavor.

I come from an art-school background, and I still feel that in my music, it's about exploration and challenging myself, about putting myself in a place that's frightening because I haven't been there before.

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.

I have always appreciated those who dare to experiment with materials and proportions.

If you're not pushing your own technique to its own limits with the risk that it might just crumble at any moment, then you're not really doing your job.

I have a real interest in pushing some of the limits of things that studios don't want to make.

I love playing instruments that I don't know how to play or am not familiar with. I like the idea of danger and innocence that comes from it. As an artist, I feel I should be able to do something with anything I get my hands on. The music becomes minimalist because of my limited knowledge.

With Fincher, you can take chances and try things. And what happens is that any pretension and preparation you've done, all the square, intellectual work, you can't keep that up for 40 takes. It breaks down, and new things start popping up. This, for me, is the most exciting thing about film-making.

Radiohead showed a real affinity to being bold with visual imagery, so it came as no surprise when Jonny Greenwood did 'There Will Be Blood.'

I don't want to do animation to mimic reality. I want to push reality.

You want, as an artist, to be pushing yourself to do what you haven't done before.

I’m an actor who’s accustomed to bringing a lot of stuff to the table, and you have to be ready because some of them will be accepted and some of them will be rejected. Then you need a generous, free, fearless, loving director like Tarantino to allow you to take those risks.

An artist should be taking risks. That's the whole idea of being an artist.

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.

You cannot play for safety and make art.

Great art stretches the taste, it doesn't follow tastes.

To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'