Christoph Waltz Quotes

The only way I'm comfortable with a new album is if I'm taking a new risk.

We've been fairly eclectic in our time, and we did branch out. Whenever we got a little bit too far out, people started to moan and groan a bit.

I can try new genres because I know there are fans who will always be there to support what I would like to pursue.

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

I'm proud that with 'Bright Eyes' we've always experimented and tried to make a different record every time out.

When I've worked with established artists, I've naturally been more restricted, but you still have to take risks and push yourself to do something different.

When I do short films, I try to do something completely out of my comfort zone, out of my element.

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.

Well, every movie is an experiment. And the only way you can grow at what you're doing is to take chances. You can't try to stick with what worked last time.

I think music needs danger; it needs risk.

I free-form it, rock n' roll it. I'm a creature of risk, so I don't know how I'm going to explore a Beethoven symphony until I'm doing it.

One thing I liked about 'Silver Bell' is that I barely knew how to play in the tuning I was writing in, and I just went for it anyway.

Give the composer time to experiment, time to try out ideas. Also, the time to fail. When the composer has very little time, the temptation is to reach for stock ideas - ideas they know will work and have worked in the past.

I think comics do need permission to fail. I think comics do need permission to go up and try stuff.

Defying genre conventions is instantly a risky move.

I'm known as a person who, like, steps out of the comfort zone. Who kind of breaks the rules and crosses the line in the sense of making YouTube videos.

I was the first records editor at Rolling Stone, and there were no rules. There was nothing to fall back on as to how do you write about this kind of music, so people were trying absolutely everything with a great sense of freedom and experimentation and success and failure, and a feeling of, “My God, people are actually paying attention to this. Let’s pretend they aren’t because we don’t want to be intimidated by what somebody might think of what we’re saying.

To me art is an adventure into an unknown world, which can be explored only by those willing to take the risk.

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.

You try a lot of things and you don't know what the hell you're doing. If you're actually inventing something you shouldn't know what you're doing.

I've never been averse to a little risk - after all, writing without risk is not really writing at all. Sometimes one has to just let fly with a high concept piece and see where the pieces fall. As it generally turns out, the central story is familiar, but just with different rules of engagement.

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

Creative risks will always outweigh technical mistakes.

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 don't think you can create anything interesting from a comfort zone. You have to work from a place of fear and failure.