Nicole Mones Quotes

Every once in a while, when the audience is expecting to see one thing, you have to show them something else.

It's good to give people a jolt. If they're expecting one thing, it's important to give them something else. If you do something startling, audiences might at first freak out, but then they start to think, 'This is not going to be conventional. I'm going to enjoy this.'

When you talk about avant-garde cuisine, the surprise factor is really important. For example, I love looking at blogs and the photos, but I'm not that keen on other people taking photos of my dishes.

It's very hard to be an innovator at the highest level in any discipline. For some chefs it's merely about combining ingredients, but that's something you can do with your eyes closed.

His failures are as valuable as his successes: by misjudging one thing he conforms something else, even if at the time he does not know what that something else is.

I'm always changing my work, as there are endless ways to think about food.

Working harder is not a sustainable solution and it's not how people meet their destiny. It's time to get more creative. Instead of choosing one thing we love over something else we love, we must ask, 'how can I do both?' And, then, we can find solutions.

I want to evolve each season. I never want to be one of those brands where people know what they're going to see. I always want an element of surprise. One thing I never want to do is copy what anybody else is doing. I have a signature, and it's very important to me to stay true to that.

I like that talented chefs are able to keep coming up with new ways of preparing food - it really is an art form.

Keep everybody guessing as to what your next trick is going to be. Don't become too predictable.

Always zig when people expect you to zag. Confound them!

The most important feature of an information economy, in which information is defined as surprise, is the overthrow, not the attainment, of equilibrium. The science that we have come to know as information theory establishes the supremacy of the entrepreneur because it appreciates the powerful connection between destruction and what Schumpeter described as "creative destruction," between chaos and creativity.

Always get to the set or the location early, so that you can be all alone and draw your inspiration for the blocking and the setups in private and quiet. In one sense, it's about protecting yourself; in another sense, it's about always being open to surprise, even from the set, because there may be some detail that you hadn't noticed. I think this is crucial. There are many pictures that seem good in so many ways except one: They lack a sense of surprise, they've never left the page.

Discovering the unexpected is more important than confirming the known.

I want people to come to the game to see what I will do next.

It's always better to shock people and change people's expectations than to give them exactly what they think you can do.

If you haven't surprised yourself, you haven't written.

The beauty of the band was you never knew what was going to come out next.

We make tools for people. Tools to create, tools to communicate. The age we're living in, these tools surprise you. ... That's why I love what we do. Because we make these tools, and we're constantly surprised with what people do with them.

Dustin Hoffman also never does the same thing twice which is totally stimulating because you're always getting something new from him. You never really know what he's going to do next, so you have to be on your toes.

Innovation has a lot to do with your ability to recognise surprising and unusual phenomena.

Surprise is where creativity comes in.

I have one talent, and that is the capacity to be tremendously surprised, surprised at life, at ideas. This is to me the supreme Hasidic imperative: Don't be old. Don't be stale.

Good art should elicit a response of 'Huh? Wow!' as opposed to ‘Wow! Huh?'

Audiences crave something they've never seen before. That's what they want. They want to be dazzled. They want to go in either to have their expectations blown out of the water, or have no expectations and are dazzled by the decisions that we filmmakers made.