Miranda Richardson Quotes

My process of working is that I don't create a picture, I find it.

It isn't a hunch but the subconscious mind, which is the creative mind, at work. That is the mind which makes artists do things without their knowing how they came to do them. Perhaps with me it was the cumulative effect of a lot of little things individually insignificant but collectively powerful.

My experience has nothing to do with creation, I don't think, even though maturity is helpful. In a creation process, there's an intuition that takes you and if it's nourished with awareness and experience, it's great.

Indeed, an engineer designing a structure is not unlike an artist painting one. Both start with nothing but talent, experience, and inspiration. The fresh piece of paper on the drawing board is as blank as the newly stretched piece of canvas.

I don't really think too much about special effects because that's not really something I can clearly visualize, so I leave that to the pros.

You have to draw on your unconscious when you make a film - you can't worry about whether it's costing a lot of money.

Sometimes I feel as if sections of my ballets were done for me - that I didn't do them myself.

I often think about image, and image is something that - but in truth, the real artistic process, as I've understood it, is 95 percent intuitive, like seat-of-the-pants, at-the-moment decisions that you can't even explain, you know?

My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings.

You can only paint through your experience and sub-consciousness.

My creative process is quite slow. I hear melodies in my head while I'm washing the dishes and I allow my subconscious to do the work.

Sometimes with Polaroids, the shot you want to get in your head doesn't happen. What it makes me do is be patient, I guess, or let go of that presumption of what the shot's going to be.

My work always comes from the same source - from movement. It doesn't necessarily come from an outside idea, though the source can be something small or large that I've seen, often birds or other animals. The seeing can then provoke the imagining.

I let the images crowd my mind before I start writing a script.

The words that I'm most happy with are the ones that come from my subconscious rather than my conscious. They just feel right. I think that's the same with music, really. If you're doing an album, there's ten or eleven sets of lyrics, so you get to the point of inspiration ten or eleven times - it's difficult.

Whenever I work on a role, I always allow it to subconsciously take me to a place that is magical and unexpected, rather than consciously driving it to a place.

With experience it seems to be possible to control the flow of paint, to a great extent, and I don't use - I don't use the accident - 'cause I deny the accident... it's quite different from working, say, from a still life where you set up objects and work directly from them. I do have a general notion of what I'm about and what the results will be. I approach painting in the same sense as one approaches drawing, that is, it's direct.

I understood that I was inventing myself, and that I was doing this more in the way of a painter than in the way of a scientist. I could not count on precision or calculation; I could only count on intuition.

A good artist lets his intuition lead him wherever it wants.

I always say that intuition is the number one tool for an artist.

You can't really imagine every moment of a movie in the same way that you wouldn't expect a novelist to envision every sentence of his 800-page novel.

I'm not being analytical. I just create everything intuitively. If you're too analytical, what you're doing probably ends up being too specific.

I don't really know why an idea comes to me. But all of a sudden, an idea comes and from experience I can intuit what something means when an interesting line pops up. Or I can intuit what an interesting choice might be. And I can try a couple of different choices, and see which one feels right, and then continue the song to see where it goes.

...imagine what you are writing about. See it and live it. Do not think it up laboriously, as if you were working out mental arithmetic. Just look at it, touch it, smell it, listen to it, turn yourself into it. When you do this, the words look after themselves, like magic.

Film is a collection of many mediums and collaboration and you're only as strong as the people you're working with - and everybody owns their mediums.