It seems to me that many writers, by virtue of environments of culture, art and education, slip into writing because of their environments.
Certain environments, certain modes of life, and certain rules of conduct are more conducive to inner and outer harmony than others. There are, in fact, certain roads that one may follow. Simplification is one of them.
There is risk everywhere. Being alive carries the risk of death.
A prophet or an achiever must never mind an occasional absurdity, it is an occupational risk.
Good things don't happen by coincidence. Every dream carries with it certain risks, especially the risk of failure. But I am not stopped by risks. Supposed a great person takes the risk and fails. Then the person must try again. You cannot fail forever. If you try ten times, you have a better chance of making it on the eleventh try than if you didn't try at all.
People say they want to be in risky environments and do all kinds of exciting stuff. But they don't actually know what risk means: that risk actually does bring failure and mistakes.
It is an occupational risk of biologists to claim, towards the end of their careers, that the problems which they have not solved are insoluble.
Most practising scientists focus on 'bite-sized' problems that are timely and tractable. The occupational risk is then to lose sight of the big picture.
It’s all risk. And if it isn’t, it needs to be. The real trick is to find the risk that is right for you, a risk that doesn’t take you so far out of your own identity that it’s not a you that you recognize who’s doing the writing.
If we set our priority "the removal of all risk", we'll soon have sterile, stagnant, and unstimulating learning environments.
We found that the most exciting environments, that treated people very well, are also tough as nails. There is no bureaucratic mumbo-jumbo... excellent companies provide two things simultaneously: tough environments and very supportive environments.
I want to be creative in as many different environments as possible, whether it's doing film scores, writing for TV ads or video games - all sorts of stuff, as long as it requires writing music.
I've never been averse to a little risk - after all, writing without risk is not really writing at all. Sometimes one has to just let fly with a high concept piece and see where the pieces fall. As it generally turns out, the central story is familiar, but just with different rules of engagement.
Almost everything worthwhile carries with it some sort of risk.
What I had heard about TV is that it's very rigid - that you have to hit your mark, look a certain way, do certain things, that there is no freedom artistically - and that's my worst nightmare. I don't work well in rigid environments.