Thomas Bangalter Quotes

My idea of artistry has always been 'try everything until you find out what works.'

Half of art is accident, but there is no accident without free experiment.

A lot of it's experimental, spontaneous. It's about knocking about in the studio and bumping into things.

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.

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.

I consider all my films an experiment, at least in my mind.

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

How can you go out on a limb if you do not know your own tree? No art ever came out of not risking your neck. And risk--experiment--is a considerable part of the joy of doing.

There's no way to really mock up or simulate what I'm doing until I'm there. An exhibition for me is not a statement but an experiment.

Any creative process is about being in a territory which isn't secure, isn't necessarily familiar, and isn't convenient in any sort of way. And that's the excitement of it.

Creative experimentation propels our culture forward. That our stories of innovation tend to glorify the breakthroughs and edit out all the experimental mistakes doesn't mean that mistakes play a trivial role. As any artist or scientist knows, without some protected, even sacred space for mistakes, innovation would cease.

Musical accidents are a gold mine. The thing about accidental discoveries is they won't be made unless you put yourself in a position to make that discovery. To do that means hundreds of hours, days and weeks where you do things and don't discover anything.

If the playwright knew every little thing about his play, why bother? There must be discovery all the time, otherwise why bother to do it?

Mistakes and dead-ends often mean more to these artists than any proven problem.

I always wanted to be really experimental.

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.

There's a way of playing safe, there's a way of using tricks and there's the way I like to play which is dangerously where you're going to take a chance on making mistakes in order to create something you haven't created before.

Fans should be encouraged that I want to try different things.

When you're building a show from the ground up, there are no answers or wrong move, because there's no bible.

There are so many ideas that I have in my mind, of projects that I would love to tackle, people I would love to work with, genres I would love to experiment with, and sounds that don't fit any of my previous projects that I need to find a home for.

The entire making of 'Within and Without' was a series of experiments and trial by error. When I started writing, I didn't have a strong idea of what the record was going to end up like.

Every day, I'm trying to push the boundaries creatively, and sometimes it does push the boundary too far, and that's what I had to learn.

We're all trying to be artists making our own unique statements. I think the only real way to do that is through failure.

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

Every great inspiration is but an experiment.