Take calculated risks.
Risk in art is experimentation. There is no sorrow in self-driven experimentation.
There are those who are so scrupulously afraid of doing wrong that they seldom venture to do anything.
The specific weight of the soul is equal to the sum of what has been dared.
A leader who confines his role to his people's experience dooms himself to stagnation; a leader who outstrips his people's experience runs the risk of not being understood.
Sometimes it seem like to tell the truth today is to run the risk of being killed. But if I fall, I'll fall five feet four inches forward in the fight for freedom. I'm not backing off.
People shop and learn in a whole new way compared to just a few years ago, so marketers need to adapt or risk extinction.
Taking sartorial risks and not following other people is what makes you stand out.
You will never be stylish if you don't take risks.
To love is to risk not being loved in return.
I would rather give full vent to all human loves and disappointments, and take a chance on being corny, than die a smartass.
Our culture rightly admires risk-takers, but we need our 'heed-takers' more than ever.
This is the risk: the primary word can only be spoken with the whole being. He who gives himself to it may withhold nothing of himself.
The risk of failure is part of the fun of what I do.
The outside wold pressures you into a mold, but if you don't accept that - you gamble with life. Call it gambling.
You've got to bear it in mind that nobody that ever lived is specially privileged; the axe can fall at any moment, on any neck, without any warning or any regard for justice.
Drawing is one of those things which sit on the uneasy bending line between instinct and instruction, where seeming perversity eventually trumps pleasure as the card players and the kibitzers interact and new thrills are sought.
My willingness to explore and work freely is not without risk, and at times, I find myself caught in a bind... Knowing I can fix whatever goes wrong allows me to paint, not without thought, but without hesitation.
I consciously chose a person like the bounty killer [of the Fistful trilogy] because he was the street sweeper of the desert, a man who put his life at risk exclusively for the money. I'm not saying that he went against the law, but he put himself within the wings of the law only when it was something that he could profit by.
People run on and off the stage, but usually they're removed before they get to me. It's not really frightening. There's always the possibility that someone's going to take a potshot at you; you take that risk when you perform in front of thousands of people.
The court was unable to rule on all circumstances in which nuclear weapons might be used, and it said in view of the problems, the risks posed by nuclear weapons, and in view of the lack of certainty of the law in all circumstances, the best course is fulfilling the obligation of good faith negotiations of nuclear disarmament contained in the nuclear non-proliferation treaty.
If I did see a white man who was willing to go to jail or throw himself in front of a car in behalf of the so-called "negro cause," the test that I'd put to him, I'd ask him, "Do you think negro, when Negroes are being attacked they should defend themselves even at the risk of having to kill the one who's attacking them?" If that white man told me, "Yes," I'd shake his hand.
Having more success allows you more freedom to take more risks and do things.
Sometimes people like to take risks.
In doing the research, I found myself consumed by a single, overwhelming question, as relevant today as it was seventy years ago: When would I, as a wife and mother, risk my life - and more importantly, my child's life - to save a stranger? That question is at the very heart of The Nightingale. I hope that everyone who reads the novel will ask themselves the question.
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