Creative Risks Quotes

Studios are like hospitals. A lot of people check in, and they don't check out.

I think nothing can be taken for granted - be it the fact that you get to work with a certain kind of talent, certain kinds of budgets, or that the audience looks forward to your work.

Despite the ever-increasing financial pressures experienced by writers and the ever-decreasing space afforded by the media to books, writers are still willing to aim for quality and to take risks.

When I took on 'Fargo,' I thought, 'Well, this is just a terrible idea. Four people will watch it, and they'll hate-watch.' But that allowed me to just go for it and take the risks.

The model we established was to give creative people complete creative freedom in exchange for betting on themselves, so they work for the minimums you're allowed to work for, and if the movies work in a big way, everyone does very well. If the movies don't, nobody loses too much money. The benefit to doing all the movies low budget is we can tell different types of stories and take creative risks. The Purge would have been irresponsible to do for $20M, but to do it for $3M makes sense.

If you look at my career, I've taken on a lot of risky roles.

I work with a stylist called Devon Nuszer and a makeup artist called Aaron Barry, and between those two, I trust them implicitly. I have the things I do over and over again and that I feel safe with, but they inspire me to take risks, and I trust them so much.

I'm interested in doing movies I wouldn't normally be interested in doing.

With directing, you always have three or four things constantly on the go. It's a tough industry and a tough time, particularly if you're doing things a little outside the box or independent features.

When we made 'Toy Story,' we knew, even back then, that this was going to be the ugliest film we would ever produce.

I don't want to worry about someone calling me and going, 'You better find a way to get another Taylor Swift record out this quarter.' When there's that kind of financial pressure dictating your path, it's hard to take creative risks.

Developing films with directors, developing films with actors, is a poor percentage play for a screenwriter.

There are a lot of things going into making a movie. So many things can go wrong. So many people that need to show up and bring their "A" game. If one thing is out of place, the whole movie can fall apart.

One of the tasks that any artistic director has is, you're trying to bring elements together that will work. The truth is that you could bring all the best talents in the world together and produce a big turkey.

As actors, we have that in common that we go for slightly out-of-the-box or genre stuff. They're great when they work, but they don't always work. Genre stuff is really hard to pull off, as any fans of it know.

A lot of times passion projects or films are difficult to make because they don't have proven directors attached to them.

Sometimes I make very selfish choices; like I did 'Once Upon A Time' for my inner 8-year-old and my hypothetical future child. I've done some movies because I would regret them if I didn't, but other projects I've done because they've scared me or if I felt I needed to do a big romantic comedy to help me professionally.

To think in terms of what the effect of a story is going to be, as opposed to trying to discover its inner logic, is one of the fundamental dangers in the process.

When young people say I want to be a novelist, I'd say, think very carefully about it. There will be very few rewards, you probably won't make any money, you probably won't become famous, and you will spend your whole life locked up in a room by yourself worrying about how to survive.

I do like being surprised by directors and producers and being offered parts I would never have considered, including parts that aren't necessarily obvious but which would test me.

It feels great that with the film choices I have been making have been quite radical and different. I am glad they are commercially working.

That's double-edged: it's amazing that they're bringing me in and showing people new ideas, and at the same time it's a little hard because seventy percent of the time or even higher I'm not going to get those roles.

I think sometimes we in the industry have to do ambitious projects.

I consider 'White Collar' my home base. I'm so lucky to get to play a character that's very multifaceted and the writers take risks on and never get into a staid process with.

We're really trying to make movies for TV. Producers and writers are taking risks that they weren't in the past.