Markus Persson Quotes

Every new painting is like throwing myself into the water without knowing how to swim.

You hope that the ideas will come together. You just don't know. That's part of what I suppose is part of being brave and putting creative work out there.

I just want to make a beautiful film. I've had it in my head for so long, so I want to try. Every now and again I get scared. And that's not really how I operate in songwriting or as Sia the artist, the singer. I don't operate from a place of fear. But this is such a new area for me. I still have some insecurity. So, like, once a week I get washed from the top of my skull down to my toes with this vomitous feeling of fear. I think, "Just don't do it. You don't have to do it. You're already a singer and a songwriter. Really, you don't have to make a movie.".

I think I'm actually much too shy to do any performance art. I admire the big swings those guys take, but I'm not a one-man band.

People would say to me, 'Who do you want to be as an artist?' And I would just look at them because I didn't know.

Writing is about confidence and wondering what the point of anything is.

I think that's kind of the perfect mix, where you do something that you're not sure about, you feel like you're taking a risk, and then you turn around and look at the artists that you're collaborating with and you can read the expression on their face if they like it or they hate it.

I'm not trying to prove myself a great filmmaker. I don't know much about filmmaking anyway. I'm trying my hand at it to see if I'm any good.

It is much easier to imitate something else that you know is accepted and loved than it is to look inside and follow your own compass, because you have no idea if you'll be accepted, if you'll be right, if your ideas are good, if your way is a path to success.

I kind of want to continue to fail, because it's easier for me to think of what I want to do next. Whereas if I succeed I might have to follow that path.

A lot of people like structure, so there's definitely a risk with being an artist that a lot of people aren't really willing to take.

The reason my games are chaotic is that the world is chaotic, not me. I don't aim for bad endings - they just naturally come out.

When I see my movies on the editing table, I do think I could have done them a certain way. The satisfaction is never there even when I'm directing a film. You need to have the feeling that you could have done this better.

I was constantly surprised by how things took shape, whether it was something that was funny or [sharp] or some of these more simple, quiet moments in the woods. Honestly I would say everything and nothing. I honestly don't think it's different than on any other film [Swiss Army Man]. I think I would probably ask questions of everything always.

Most reckless things are beautiful in some way, and recklessness is what makes experimental art beautiful, just as religions are beautiful because of the strong possibilities that they are founded on nothing.

Whatever happens, my audience mustn't know whether I am spoofing or being serious; and likewise I mustn't know either. I am in a constant interrogation; when does the deep and philosophically valid Dali begin, and where does the looney and preposterous Dali end?

I've often hesitated in beginning a project because I've thought, 'It'll never turn out to be even remotely like the good idea I have as I start.' I could just 'feel' how good it could be. but I decided that, for the present, I would create the best way I know how and accept the ambiguities.

None of us understand what we're doing, but we do beautiful things anyway.

...she took her hand and raised her brush. For a moment it stayed trembling in a painful but exciting ecstacy in the air. Where to begin?--that was the question at what point to make the first mark? One line placed on the canvas committed her to innumerable risks, to frequent and irrevocable decisions. All that in idea seemed simple became in practice immediately complex; as the waves shape themselves symmetrically from the cliff top, but to the swimmer among them are divided by steep gulfs, and foaming crests. Still the risk must run; the mark made.

If there was no risk, it wouldn't be art. It wouldn't be worth making. There is risk even in a fairy tale. Fiction is closest to pure narrative, and pure narrative is simply the logic we try to impose on an ever-changing reality.

As a writer one has to take the chance on being a fool.

Sometimes I say, If I had seen some masterpieces, maybe I wouldn't have dared start. I started very - not innocent, but naïve in a way.

I constantly have a devil on my shoulder telling me that what I'm doing is really horrible, and then somehow the lightning strike happens and everything comes together. I've just realized I have to live with that devil on my shoulder a little bit more.

As a writer, you don't know what the hell you're doing. You're just doing it. You hope it works out well.

There can't be art without risk. It's like saying No Sex, and then expecting there to be children.