Tina Weymouth Quotes

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

I didn't think; I experimented.

I really like to experiment. That's the only way I can work. It's instinctive.

I imagine that when I am creating a song or a project or an album or putting some clothing together or cooking a meal, whatever it is, I don't really have a recipe. The fun part is to throw that big piece of clay in the middle of the table as hard as I can, and whatever shape it takes, that's what shape it takes, and then I start to carve away.

The most important thing is to keep creating and following my inklings as they come into being and acting on them.

I'm always open to new stuff. I don't sit and try to figure out what to do, I just wait for an idea to come.

It often feels like a tremendous amount of work is required to get an idea moving forward, like pushing a train uphill. But at a certain point, the thing takes on its own momentum, and takes unexpected turns. So it's that feeling of holding on, rather than pushing it, that is the most exciting thing. It's that need to occasionally bounce off the walls, letting anything happen for any reason, and having nothing to guide you that is the joy.

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.

When you do not know what you are doing and what you are doing is the best - that is inspiration.

What Romantic terminology called genius or talent or inspiration is nothing other than finding the right road empirically, following one's nose, taking shortcuts.

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

I didn't really know what I was doing when I started. I just started writing songs. After two songs I just continued to explore it.

It is through science that we prove, but through intuition that we discover.

I usually work in a direction until I know how to do it, then I stop. At the time that I am bored or understand - I use those words interchangeably - another appetite has formed. A lot of people try to think up ideas. I'm not one. I'd rather accept the irresistible possibilities of what I can't ignore.

When you're building a show from the ground up, there are no answers or wrong move, because there's no bible.

Give the composer time to experiment, time to try out ideas. Also, the time to fail. When the composer has very little time, the temptation is to reach for stock ideas - ideas they know will work and have worked in the past.

Some of my best songwriting choices started as mistakes or learning curves, when I accidentally hit a 'wrong' key or something. I try not to lose that the more I learn the how's and why's of piano.

The fun for me musically is that you never quite know what works and why. So why pretend you do? Why not just put things together and discover, in the creative process, if and why they work? That approach has served me well.

I miss that thing I used to do when I first started out where I would just spontaneously generate ideas and try things and see where they'd go.

Half of art is accident, but there is no accident without free experiment.

Arts and sciences are not cast in a mould, but are found and perfected by degrees, by often handling and polishing.

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.

The first steps of a creative act are like groping in the dark: random and chaotic, feverish and fearful, a lot of busy-ness with no apparent or definable end in sight.

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

You're at your best when you don't know what you're doing.