Andrea Arnold Quotes

It's not my style to be thinking about what a record is while I'm making it: I just write songs.

About half my designs are controlled fantasy, 15 percent are total madness and the rest are bread-and-butter designs.

I completely take on the risk, the poker game, which being an artist means, and I'm going to try to make a film which honestly reflects what I have in my head.

I think you always have to go as an artist with instinct, I really do.

I am proud being an artist who takes risks, who would walk off a cliff artistically. I won't settle for commercial reasons.

In any art, you don't know in advance what you want to say - it's revealed to you as you say it. That's the difference between art and illustration.

When you make a movie, you can only make the movie that you would want to see.

The painting has a life of its own. I try to let it come through.

I think that David Lynch, he lives in a zone, and he expresses that zone to us with everything he does.

'Frances Ha' is the closest final product to what I had in my head of any movie I've made. I'm not entirely even sure why that is.

I've never really thought of myself as just an actor; I always thought of myself as aspiring to be an artist, and an artist has to take risks and put himself on the line.

I've worked with people who wanted to be creative every day: it was like a goal to arrive with something very special. Sometimes it's just disturbing, because special is good when it's needed. But when it's not needed, it's confusing, and you go away from the authenticity by a strong desire to be unique and singular.

I don't make judgments about my own work, and I don't analyze it; I just let it happen. That applies to everything I've done.

I just let the emotion dictate what the arrangement is.

I never judge my song titles; I just spit them out.

Some people have iconic directors in their mind, or they want to make particular styles of films they have seen before. I think this is a waste of time and energy.

When I'm working on something, even when I don't know exactly where it's going, I have a sense of what I'd like to make. So maybe doing things right is following that sense even when I stop trusting myself. The rightness is in the process, even if it doesn't match up with my plans.

I can't describe how I make a film. It's organic.

I treat my projects as art.

Being open to what's happening in front of you is the most important thing about being a director. To allow the magic to exist and to be light enough on your feet to harness it as it's happening. That's what makes cinema interesting.

When I try and extract what it is about my music that I do or love or try to create, I'm never aware of it at the time. I just make something.

I just kind of go with what I am feeling and don't think I have any kind of recipe for it... I mean, that's what drew me into writing. It's fun, and sometimes you don't get a great song. Sometimes you do.

Every day the Daniels [Kwan and Scheinert] would come up with some amazing solution and [make it easy] to put yourself in their hands. There's something really lovely about knowing you're working with directors who know exactly what they want and exactly what they're looking for, and they're not going to move on until they have it. That, as an actor, frees you up a lot because you can [try different approaches] and they'll only use what's appropriate.

I do not know myself how I paint it. I sit down with a white board before the spot that strikes me. I look at what is before my eyes, and say to myself, that white board must become something.

Cover the canvas at the first go, and then work on till you see nothing more to add ... Don't proceed according to rules and principles, but paint what you observe and feel. Paint generously and unhesitatingly, for it is best not to lose the first impression.