Hidetaka Miyazaki Quotes

My view is that you have to take risks. Not everything is going to work out, but it's sort of the fun of fashion, right?

I broke pretty much every rule of classic game design and tried to invent new ones.

My idea for Gucci was crazy, but that's the only idea I had. I was sure I'd be fired after the first show.

There's no real theatre without taking risks.

It's just about pushing yourself to realms that are uncharted. I love to get to that place where I don't know what kind of music I'm doing, I don't know if it's any good, I don't know if it's anything. It's a big question mark. The idea is to have interesting results. That's my bottom line. Not just a creative fantasy world or something like that, but a mood too.

I never want to repeat the same thing. I always want it to be different from what I've done, and to be not quite sure whether or not I can pull it off, until I hopefully do.

Much of the excitement we get out of our work is that we don't really know what we are doing.

Watch out! It's quite possible that some of my best mistakes haven't yet been made.

To be an inventor, you have to be willing to live with a sense of uncertainty, to work in this darkness and grope towards an answer, to put up with anxiety about whether there is an answer.

Products a start-up builds are really experiments…Learning about how to build a sustainable business is the outcome of those experiments [which follow] a three-step process: Build, measure, learn.” “[A startup is] … an organization dedicated to creating something new under conditions of extreme uncertainty.

I think that we, as writers, get excited by risk. When we are feeling comfortable and familiar, I wouldn't say that we get bored, but the energy in the room gets flat. When we're most excited and when the show is the most fun, it's when we're duking things out.

If a totally new image is to come into being however, there must be sensitivity to internal messages, the image itself must be sensitive to change, must be unstable, and it must include a value image which places high value on trials, experiments, and the trying of new things.

If you're not prepared to be wrong, you're not prepared to be original.

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

So long as your desire to explore is greater than your desire to not screw up, you're on the right track.

I feel like so much of what I'm doing is making a road where there is no road and inviting people on that road with me. It's scary. It's scary, but I can't listen to the voices that are saying form is the only way, or that there is only this kind of form or that kind of form.

Occasionally, there arises a writing situation where you see an alternative to what you are doing, a mad, wild gamble of a way for handling something, which may leave you looking stupid, ridiculous or brilliant -you just don't know which. You can play it safe there, too, and proceed along the route you'd mapped out for yourself. Or you can trust your personal demon who delivered that crazy idea in the first place. Trust your demon.

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.

Certainty is a closing of the mind. To create something new you must have doubt.

I always felt that if you're not trying something different each time out of the gate, you're being safe, and you don't ever want to find that place of safety. I like that, each time, before I even go in front of the cameras, the studio's reaction will be fear.

[...] My wild words slip into fusion and risk losing the solid ground. So stranger, get wilder still. Probe the highlands.

You never know exactly how new policies are going to work. That doesn't mean you shouldn't try them.

I want brave people. Fearless ones. A good actor just goes out and leaps off the edge and develops wings on his way down, hopefully. That's the kind of people I really enjoy working with. Playing safe isn't much fun. I like danger. It's controlled danger, always, and that's why I hope I don't lure too many good actors down into the pits with me, because I hope they maintain their own unique talents.

If you're not having doubt, you're not pushing the boundaries far enough.

My real bottom-line hypothesis is that nobody has a sweet clue what they’re doing. Therefore you better be trying stuff at an insanely rapid pace. You want to be screwing around with nearly everything. Relentless experimentation was probably important in the 1970s-now it’s do or die.