Open-Ended Exploration Quotes

This world is but a canvas to our imagination.

When I'm in the studio, there are no boundaries.

I value above all the ability of art to move me emotionally and psychically, without answers. I make art that makes me question, that derives its power from being vulnerable to interpretation, that is intuitive, that is beautiful.

One way to think about play, is as the process of finding new combinations for known things--combinations that may yield new formsof expression, new inventions, new discoveries, and new solutions....It's exactly what children's play seems to be about and explains why so many people have come to think that children's play is so important a part of childhood--and beyond.

I never have a genre in mind when I'm making music because I just like to be free. I feel that placing a genre on your music is limiting yourself.

I still do miss the freedom to play any kind of character I wanted to play.

I don't think it's the writer's job to give answers or to give opinions. In fact, when a writer has answers, I think the work ends up being corrupted. It becomes didactic. What a book does is share a consciousness and invite people to explore the questions as best as you can.

Being an intellectual creates a lot of questions and no answers.

The best books are the ones that ask the most questions.

I sort of look at acting like that: if you have no confines, you have everywhere to go.

I don't have what German directors call 'a concept' - a solid, fixed sense of the pattern that you should impose on the given work. I always get the feeling that I am raking up the earth rather than laying down the concrete.

The human imagination... has great difficulty in living strictly within the confines of a materialist practice or philosophy. It dreams, like a dog in its basket, of hares in the open.

Real artists free of the tedium of money can use, now, all of society as an idea factory.

I don't think there'll ever be a time where we're like, 'Okay, The Driver Era is... ' People ask me, 'What do you represent?' But it's forever growing, and it's forever changing.

I think we've established a convention on the show that allows us to do pretty much anything we want to.

My own movement of thought is not meant to be a straight point-to-point, linear line of march, but horizontal exploration from one area of interest to another. There is no ultimate destination - no finish line to cross, no final conclusion to be reached. It's the way I feel about dancing - you move around a lot, not to get somewhere, but to be somewhere in time.

When material comes to me, I don't care where it's coming from. Japan, Singapore, China, Africa... it could be from everywhere. The material should excite me. It's not important where it's coming from.

Certainly, young children can begin to practice making letters and numbers and solving problems, but this should be done without workbooks. Young children need to learn initiative, autonomy, industry, and competence before they learn that answers can be right or wrong.

Ideally a book would have no order to it, and the reader would have to discover his own.

I think that artists provide questions, not answers. We provide provocations rather than fully formed objects.

I'm interested in making films that ask questions and don't particularly provide answers.