Chiwetel Ejiofor Quotes

For me, I'm constantly writing stuff that is what I'm dealing with on a personal, psychological level. And I think that I bring that to whatever I'm doing, whether it's being an actor or a writer or whatever it is I'm doing. I think you can't help but do that.

If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying - for however long it takes - until I think it has improved. And I don't demand an explanation from myself as to why this is so.

Acting is really instinctual and I think you can overanalyse what you're doing. A lot of it has to be based on instinct.

Self-discovery in songwriting, bringing something forth that's instructive to yourself - some of the best songs that you will ever write are the ones where you didn't have to think about any of that stuff, but nonetheless that's what's happening in the song.

It takes me awhile to find something that I'm passionate about. I'm reading a lot and thinking a lot, and torturing myself a lot because I'm feeling really guilty for not writing something today.

In LA, you think you're making something up, but it's making you up.

It is only when you're lying to yourself or hating some aspect of yourself that you'll get an emotional charge from someone else's behavior.

You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script.

I don't really think it comes as a shock to every writer if somebody in their family is mad at them. Yes, it's very upsetting. But it's inherent in the process of trying to make sense of one's life, which is what I think is perhaps at the bottom of writing at all.

It is in the thousands of days of trying, failing, sitting, thinking, resisting, dreaming, raveling, unraveling that we are at our most engaged, alert, and alive.

[Chamber of Reflection off of Salad Days]I think it's probably that one. There's no guitar on that song, I've never recorded a song with absolutely no guitar, which is interesting. The idea behind it, well it's a Free Mason reference because before they become Free Mason's they had to go into this room called the Chamber of Reflection where they think about the life they brought with them, the life they've lived up until this point and all their wrong and right doings. And that's basically what I did with this album.

Feelings take you into uncharted territory from time to time it's true, but you almost always benefit from the journey one way or the other. We tend to think of the rational as a higher order, but it is the emotional that marks our lives.

Creative work is more accurately a machine that digs down and finds stuff, emotional stuff that will someday be raw material that can be used to produce more stuff, stuff like itself - clay to be available for future use.

After 58 years you'd think writing would get easier. It doesn't. If you're lucky, you become harder to please. That's all right, it's still a pleasure.

I do certain things that, maybe, nobody else knows why I'm doing. But it's all - it all has to do with - to grow as an actor.

I would still be reading out loud. I think that if you are any kind of an artist, then validation is just sort of... it can be a result, but you're going to do the work anyway. Because you're just wired that way. It's so engrained, it's such a part of your personality that you don't just stop doing it. Eventually I'll retire on some level, eventually no one will want to buy my books or a ticket to see me read, it's inevitable that's going to happe

I think [music and acting], they are connected, all that stuff. It's your emotional self, is pretty much how you do it, I think, from whatever place you do it, whether you're acting or you're singing.

I think what is probably hard for people to imagine is how wrapped up the 17 years' work on Harry Potter is with what was going on in my life at the time. I was mourning the loss of this world that I had written for so long and loved so much. I was also mourning the retreat it had been from - from ordinary life, which it has been. And it forced me to look back at 17 years of my life and remember things.

Nature or, that which I see, inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation, still just an external foundation, of things.

If we're lucky, writer and reader alike, we'll finish the last line or two of a short story and then just sit for a minute, quietly. Ideally, we'll ponder what we've just written or read; maybe our hearts or intellects will have been moved off the peg just a little from where they were before. Our body temperature will have gone up, or down, by a degree. Then, breathing evenly and steadily once more, we'll collect ourselves, writers and readers alike, get up, "created of warm blood and nerves" as a Chekhov character puts it, and go on to the next thing: Life. Always life.

Looking back upon my work today, I think the best I have done grew out of things deeply felt, the worst from a pride in mere talent.

I think it's a big mistake to decide too soon what you're going to do with your life.

When I paint from a photograph, conscious thinking is eliminated. I don't know what I am doing. My work is far closer to the Informel than to any kind of 'realism'. The photograph has an abstraction of its own, which is not easy to see through.

Different things work for different people. One thing I've realized, though, is that the work that I've done on myself outside of my work as an actress has really allowed me to open up my mind. I think I understand my emotional state and my complexities now in a much clearer way, and I can put them to rest in a way that there's almost a catharsis that happens through the work, where I can do it and then find myself again.

In terms of Bridget [Jones] I honestly don't know. One thing I can say for sure is that all of these stories have been an honest, instinctive expression of something I felt or observed at the time. I would never cynically think "Oh that would sell well next."