Jonathan Krisel Quotes

Desserts are all about form and function, about warm and hot and cold. I want every component to hit your palate on different levels at different times.

The sour quality is set opposite to the bitter and the sweet, and is a good temper to all, a refreshing and cooling when the bitter and the sweet qualities are too much elevated or too preponderant.

I'm attracted to things that are in direct opposition to something that I've just done. It's not like I'm trying to make the right chess move. It's more just that personal thing where you get connected to something for so long and then you want to do something that's in opposition to that.

I just love doing broader work - I always get asked to do fairly heavy-duty, intense dramas and interesting, psychologically intense characters. But you know, it's nice to make people laugh sometimes.

I feel I need a lot of contrast, so I have all these things happening, but they're all necessary to make me feel satisfied. It's got to be this big pot happening, with everything boiling at once.

Layering in different patterns will keep things from appearing too studied.

My philosophy? Simplicity plus variety.

If you have a lot of sweetness and quirkiness, someone's got to have a little bit of bite against that.

I live in such a sweet world in the world of 'Home Improvement' that I tend to be drawn to stuff that's really on the other end of the spectrum entirely.

To be honest, I watch way more dramatic films when I'm chilling at home. I think when you work in comedy, you just want something different in your private life. Makes you feel balanced, I guess.

There's a rule of writing: if everything is funny, nothing is funny; if everything is sad, nothing is sad. You want that contrast.

As with lemon juice, the more sorrel you use, the more it has to be balanced with something sweet, starchy or creamy - it's a yin-yang approach to cooking that I find rather calming.

The essence of the beautiful is unity in variety.

Human life is a combination of tragedy and comedy. The shapes and designs that surround us are the music accompanying this tragedy and this comedy.

Life mixes tones all the time.

In things to be seen at once, much variety makes confusion, another vice of beauty. In things that are not seen at once, and have no respect one to another, great variety is commendable, provided this variety transgress not the rules of optics and geometry.

Each part of my life provided respite from the other and gave me a sense of proportion that classmates trained only on law studies lacked.

Life would pall if it were all sugar; salt is bitter if taken by itself; but when tasted as part of the dish, it savours the meat. Difficulties are the salt of life.

I like to be in the spotlight once in a while, and then I like to be in the shadows. It's really regenerating.

It's very nice to do a little bit of the darkness after a little bit of the lightness. Variety is the spice of life. I enjoy both, and hopefully, I will be able to do as big a variety as I possibly can.

It's like life: you have both comedy and drama. There's a balance, and I'm lucky enough to have it in my work.

A life of very, very serious, po-faced films would drive me nuts. I need - and I'm fortunate to have - a fairly varied menu in that respect. I mean, I was shooting 'Mamma Mia!' at the same time as I was doing Michael Winterbottom's 'Genova'. That was a very, very bizarre summer.

It's interesting to explore the darker side, but the hero piece is interesting as well. It's like choosing between comedy or drama. I like to do both.

If I've made something really serene... well, if everything is like that, it's like having too much icing on your cake. You need something else under it, some kind of grounding. It's like if you're making a film, you can't have only happy moments, or else they become meaningless.

That's very important when you're doing an ensemble piece, that you give it a variety of levels so it doesn't get too homogenous.