I admire anyone who isn't afraid to take risks and try out things that aren't usually looked at as "normal." Right now I'm very into chic, classy looks. Chanel is one of my favorite brands; they really capture what a classic woman is.
My life philosophy and personality has been driven by the fact that I am incapable of really understanding the future, on some level. I am in this moment. I take risks because I really don't think that far ahead.
I learn more about how to run a set teaching six-year-olds. You go into a classroom as a teacher, and the most important work you do is create an infrastructure and an environment that's safe, in which children will feel able and free to take risk. Working with actors, you have to establish the same thing. Teaching a class is not so different than mounting a production.
I was going to the flea markets to buy furniture. It was getting done the way it was getting done - on a small scale and with a lot of soul and heart and risk. We did fashion like fashion was done before - spontaneously, with joy and freedom, and that's what created our identity.
In the film industry you never really know if all the various ingredients will come together - sometimes they do, and sometimes they don't. As an actor, you don't have much control over those things. It's a director's medium in that sense. All you can really do is minimise the risks of being involved in something that might not work and look for something that also suits you.
It was clear to me that the White House's solemn atmosphere would not civilize Trump. But the merciless nepotism with which he conducts politics, in which he places himself and his family above the law, I wouldn't have considered that possible. And on top of that there is this reduction of complex political decisions to 140 characters. When it comes to a U.S. president, I consider the reduction of politics to a tweet to be truly dangerous. Trump is a risk to his country and the entire world.
As a political activist you run the risk of having to settle for one compromise or another in order to achieve your goals. Artists face the obvious accusation of elitism. The fundamental principle of my work is that it critiques capitalism in very specific ways. I am not interested in generalized political rhetoric. Instead of "aestheticizing" political issues, I try to challenge ingrained perspectives.
The danger with success in television is "Haven't we shot this episode before? Didn't we shoot this scene two years ago?" I think it's really hard to just take the risk from season to season and not be afraid to give the audience something completely different, and trust that they'll come with you.
Sociopaths are not inhibited by the notion that it's wrong to be addicted, or wrong to buy illegal drugs. Also, drinking or taking drugs can be a lot of fun, and even if it's not, it can dull that painful boredom for a while. So can certain other things, like taking risks, and particularly if you take a risk-averse person and you can manipulate him or her into taking risks, that's really fun.
I really don't watch enough TV to know about the impact. In my experience as a TV writer, I would say is the exact opposite - it's very constricted, all having to conform to a form. My sense of fiction writing is not to think about rules but to be driven by the characters and their stories. I often ask myself what's at risk here, who needs what, and how are they going to get it. There has to be a reason for the reader to stop living their own life and start reading your book.
I wasn't doing it to shock anybody or to be rebellious or to get attention making "Heart-Shaped Glasses" with Marilyn Manson. I was more proud of that than anything because it took a lot of strength and bravery to put myself out there like that. It was a risk. I'm glad that I did it because usually the best things I've done have come from the biggest risks. Thirteen was a risk and that was amazing.
My outlook on life is to be true. To take risks. To love the shadows as well as the light. To find your task. To recognise your task. To be active.
I don't know what I am on set. I can be many different things on set depending on how stressful a situation is. But at the end of the day we're making movies, we're not saving the world... we're not an army, no one's lives are at risk and we're just trying to make art, so I think as long as you keep reminding yourself that's what it's about you can have fun.
When you're young, you get by on charm and good looks, not that I miss being charming or good-looking, but then you start to understand things about life, about the craft of acting. You approach it a different way. It's much more fun now than it was, because you take more chances and risks. I enjoy acting now more than when I was young.
You have to train smart. There is always a risk of over-training or training beyond what your body is able to recover from, and that leads to injuries.
I'm not an expert on how to configure the sport, but I can observe and say that accidents seem to be a part of it. The athletes are incredible, with the courage that they accept the risk of death, paralysis, and brain injury. These are really life-changing, life-threatening injuries, and the risk is extremely high.
I've been fortunate to have had the life I had prior to Hollywood. I wasn't starving, I was going to eat the next day. I came to Hollywood wanting a career that had longevity, and I wasn't afraid to take risks because I had a dollar in the bank. I wasn't driven by money as much as I was driven by making a successful transition. And I was smart enough to know that I certainly didn't have all the answers and I needed to surround myself with smart people and be willing to take risks and be willing to fail.
I would tell myself, "Love yourself and don't be afraid to take risks." I was often afraid to take risks, socially, because I was young and a little more shy and still figuring out who I wanted to be. Sometimes I look back and think, "I should have just been bolder and more confident."
I always think that when we actors talk about the films that we've done we run the risk of destroying everything.
There's major changes happening with technology and economics. But unfortunately, the initial reaction on any new frontier, it gets bloody, and people are overreacting, and very defensive, and they're not taking risks. In fact, they're taking such safe measures that they're shooting themselves in the foot.
A lot of electronic-based musicians give very low-risk performances, and it's fun to hear your favorite band play live on a big speaker, but the live context is about the moment of risk and that moment of possible failure.
That's another thing in Alice Munro: it's always, like, some middle-aged woman who is going to cheat on her husband, and there's that moment where she decides to take an extreme risk. It's always after an extreme risk where life really happens for Alice Munro.
I didn't sit down and write a song like, "I want to write a song about this," but I just spent so much time living in this affectively charged space of the live show, with its risks and the incredible reward that comes from people knowing me, recognizing me, affirming me. And then I would wake up in the morning and have an eight-hour drive where I would read George Saunders and listen to Grouper and Pure X. And you bond so much with your tour-mates and your bandmates because it's this weird, quite desperate way of living.
I ran the Gate in Notting Hill for a while, which is where Stephen Daldry started out. Those theaters are magical, because there's no money, so in a way there're no boundaries and it allows you to be inventive and brave and take risks and all those important things while you're starting out.
Early on I was a lot more unsure of myself on stage. When our band The Decemberists was getting bigger audiences I was more concerned about alienating them, so I wasn't as willing to take risks and do weird stuff on stage. But once you get more accustomed to it you tend to have more fun with it and not worry about being pilloried for acting out. Whenever you play in front of 400 or 500 more people than you're used to it's always a weird, transitional period.
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