Linda Blair Quotes

The way I go about making a movie... even the ones that are interview-driven, I go into them not knowing what's going to happen, and feeling my way through.

I had no idea what I was doing when I wrote 'Search.' There was no carefully designed work plan. There was no theory that I was out to prove.

You walk on a set, and you have no idea - that's why I don't storyboard. It's all possible.

I still maintain the fact that when I write songs, I don't know what I'm doing. I don't think about it pragmatically. I say what's in my brain, and sometimes it's great, and sometimes it's terrible.

I was really scared of the devil growing up: I was convinced I was going to be possessed.

[As an actor] I have ideas, but things should always be fluid. You should always be ready to follow an instinct. Something might reveal itself on the day.

I just feel my way through. If I had to give an acting class, I wouldn't know what to do.

When I'm making a movie, I don't like to know what's going to happen next. I like to watch something and be surprised all the time, and just not know, and let it take me wherever.

I may film scenes I had no intention of filming; things suggest themselves on location, and we improvise. I try not to think about it too much. Then, in the cutting room, I take the film and start to put it together, and only then do I begin to get an idea of what it is about.

I get a sentence, an idea, an image, and I start. I don't know anything beyond it. I follow it.

I think back story can help guide your choices, but when you're playing a scene, you're not making choices; you're just intuitive.

And as I've gotten deeper into the process of making films and television and such, I think I have more trust in the fact that you really never know what you're going to find after the twenty-fifth take.

Most songs I write are spur-of-the-moment-type things. I have to be spontaneous. If not, songwriting can bore me. There is no pre-design or idea of what I am going to do when I go into the studio. It's all like that for me. I could go in and write two or three songs in an eight-hour session. You can't over-think songs. You just can't.

I don't theorize too much. I sort of let the experience sink in, and I have to discover what the character is by doing it, and having those thoughts that she's thinking.

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

I sometimes don't know what I'm writing when I start writing it, on some level.

A good director's not sure when he gets on the set what he's going to do.

I know Charlie Kaufman really well, for instance. Charlie Kaufman starts a story, and he has no freaking idea where he's going. None. Zero. And he doesn't want to know, because there's a little bit of death in that.

As an artist, you don't think about the parabola or the arc you're describing or where you're going to ultimately end up, you're just kind of crawling around, seeing what's out there.

I just throw it out and see what happens. If it sounds and feels right, then I continue.

If I'm in the middle of a take and I start to think about what I'm doing, I just mess up and I have to stop and so I find that for me, you really need to trust your instinct.

You have to listen to the movie while you're making it. I think that's important.

All growth is a leap in the dark, a spontaneous unpremeditated act without benefit of experience.

U2 is sort of song writing by accident really. We don't really know what we're doing and when we do, it doesn't seem to help.

When I rehearse, it ends up doing more harm than good. I think I work a little bit better when it's right off the bat. Mostly, I try to wrap my head around a role as much as I can without rehearsing and then kind of make it as fresh as possible on the day.