Quotes About Innovation

I don't want to make games for 12-year-olds. I have no interest in that. I haven't been 12 in a long time.

I have no interest in making music that's built for an antique shop.

It's interesting to hear what somebody does when they have no interest in playing by the rules.

If you book the same models that look and act the same in every show - I get the continuity, and it is beautiful to see, but there's also no life to it. I'm personally not a fan of that.

On an independent film where you're working with just a handful of people, you don't have to explain anything because no one cares. You can do whatever you want. There's no one there to tell you not to do it.

Sometimes we get bored and want to shake up our format. It's a luxury we have on public access - no one cares about us. It literally doesn't matter if we fail, so sometimes we try to go really big and out of the box.

There's no point in starting a business unless you're going to make a dramatic difference to other people's lives. So if you've got an idea that's gonna make a big difference to other people's lives, then just get on and do it.

The league has changed in so many ways. There are no point guards anymore, there are no centers anymore; it's all positionless basketball.

If you're selling the same merchandise that's commonly available, and you've got no point of differentiation, you're dead.

There's no problem with fans and bands. There's a problem with the economics of the outside disruption of the industry.

I have no problem with money coming in and spawning competition. I am honest enough to admit that Mahindra & Mahindra would not have been going to the IITs and doing research if there was no competition.

If a company is not a monopoly, then the law assumes market competition can restrain the company's actions. No problem. If a monopoly exists, but the monopoly does not engage in acts designed to destroy competition, then we can assume that it earned and is keeping its monopoly the pro-consumer way: by out-innovating its competitors.

Art and photography allowed for the communication of new ideas, often in ways that words did not.

I start trying things, without editing or judging myself. I think it's important to give every idea that comes to me a shot, no matter how weird," I said. "So let's do that, okay?

During a 10-year period the locomotives of Egypt made us of no other fuel than that furnished by the well-wrapped, compact mummies.

So the first thing about the history of rhyme . . . is that it's all happened before. It's all part of these huge rhymeorhythmic circles of exuberance and innovation and surfeit and decay and resurrectional primitivism and waxing sophistication and infill and overgrowth and too much and we can't stand it and let's stop and do something else.

Why isn't the pioneer of perforation chiseled into the façades of libraries, along with Locke, Franklin, and the standard bunch of French Encyclopedists?

I disapprove of this text now, but when I was little it bespoke the awesome oracular intentionality of prophets whose courage and confidence allowed them to scrap the old ways and start fresh: urban renewal architects; engineers of traffic flow; foretellers of monorails, paper clothing, food in capsule form, programmed learning, and domes over Hong Kong and Manhattan.

Consistency is the last refuge of the unimaginative.

Where would David Copperfield be if Dickens had gone to writing classes? Probably about seventy minor characters short, is where. (Did you know that Dickens is estimated to have invented thirteen thousand characters? Thirteen thousand! The population of a small town!)

There were only seven years between the first and last Beatles albums. That's nothing, seven years, when you think of how their hairstyles changed and their music changed. Some bands now go seven years without hardly bothering to do anything.

She stopped typing. If she'd been using pen and paper, she would have screwed the paper up in disgust, but there wasn't a satisfying equivalent with e-mail, seeing as everything was designed to stop you making a mistake. She needed a fuck-it key, something that made a satisfying ka-boom noise when you thumped it.

No one's stopping you, said Jess. But you've got to make it more interesting. That's why why we drift off and talk about biscuits.

This script was like a dish made from things you'd found in your larder and had to use up before they went off: a Welsh mountain, a casino, a blonde with a big bust.