Sally Hawkins Quotes

It's very much like filmmaking always is-you're always asked to do something that you're not sure you know how to do. So you make an educated guess as to what you think will work and you hope between that and plan B, that you can end up with a product that's really good.

There's so much happenstance, so many accidents - stumbling into something and finding it interesting and living with it over time and building on it. It's okay to work from doubt. You need to be willing to not know.

The artist never entirely knows. We guess. We may be wrong, but we take leap after leap in the dark.

I think the philosophy will continue to be what it always was; which was, let's keep throwing a bunch of things at the wall, and see what sticks.

Let's throw it on the wall and see if it sticks.

I've always been somebody who, when I started a picture, never knew what the next picture would be.

I generally wade in blind and trust to fate and instinct to see me through.

In my work, I have never had any use for anything that I have known in advance.

My methodology is not knowing what I'm doing and making that work for me.

We must improvise, and we must experiment, and we must do things that might go wrong, and everything we bring - the people and the equipment - must serve us in that goal.

I have ideas that I think might be amusing, and I try them, and if they look right, I carry them out, and if they don't, I throw them out and try something else. I don't agonize about it.

Creativity makes a leap, then looks to see where it is.

No dance has ever turned out the way I thought it would, because I trust enough that I can start something with some ideas and then it takes itself somewhere.

My idea of artistry has always been 'try everything until you find out what works.'

Sometimes I'm wrong, sometimes not. But I'm an instinctual player.

I go by my instinct in selecting scripts for my banner. Some times it works and some times it does not.

You try a lot of things and you don't know what the hell you're doing. If you're actually inventing something you shouldn't know what you're doing.

Part of writing a novel is being willing to leap into the blackness. You have very little idea, really, of what's going to happen. You have a broad sense, maybe, but it's this rash leap. It's like spelunking. You kind of create the right path for yourself. But, boy, are there so many points at which you think, absolutely, I'm going down the wrong hole here. And I can't get back to the right hole. I'm not going to be able to get this section back to the right hole - so I'm just going to have to cut it.

None of us understand what we're doing, but we do beautiful things anyway.

The metaphor that I frequently use for entrepreneurship is jumping off a cliff and assembling an airplane plane on the way down.

As a writer, you don't know what the hell you're doing. You're just doing it. You hope it works out well.

Every project for me is a risk that I bet on. I believe my senses, and hopefully it will be successful. But sometimes you make it, and sometimes you fail.

The scary thing is that sometimes you are wrapping up animation on a sequence and you don't know how the movie ends or begins. You just have to bluff and move forward.

When you're doing a movie, you're in a vacuum, just going, "Well, that's done. Let's see what happens."

Artists of all disciplines must be willing to go into the dark, let go control, be surprised.