Grace Chatto Quotes

I don't stick to special techniques, conscious techniques.

There's never anything planned. I just do what I feel is best for the song at that time.

I'm very specific about scripts that I like. I don't have a master plan or, like, a game plan. I don't have a chart that I'm following or anything like that. I'm very much playing it by ear. Certain things just happen and it's undeniable, you just go that way. But I don't have a specific path I'm following, I'm just playing it by ear.

I just go with the flow, so any style can be in my music - that makes it exciting.

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

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

I work in whatever medium likes me at the moment.

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

With 'Silver Linings,' I didn't feel - I was thinking of certain things, but I just said, 'Let me go with it.' You have to know what you're doing, where you're going with the scenes, and I put a lot of work into that. But when you're out there, at the same time you gotta be ready for anything.

And I don't have any specific steps to take because I don't start the same way every time. But there is a knowing when it's enough and you can leave it alone.

I don't think I have any set image, and I don't want one. If I think I'm getting a particular image, I try and break it. I find it very important to keep the audience guessing and keep them on their toes.

My general approach to writing fiction is that you try to have as few conceptual notions as possible and you just respond to the energy that the story is making rather than having a big over plan. I think if you have a big over plan, the danger is that you might just take your plan and then you bore everybody. I always joke that it's like going on a date with index cards. You know, at 7:30 p.m. I should ask about her mother. You keep all the control to yourself but you are kind of insulting to the other person.

I've never had a method of working. I change according to circumstances; I don't employ any particular technique or style. I make films instinctively, more with my belly than with my brain.

I like to let each thing happen - direct it a little consciously, maybe - but just kind of follow the vibrations I get in each particular circumstance. We don't plan theatrics. We hardly ever know which set we'll play.

I don't plan. I don't think, 'I have to do this kind of part 'cause I've done that kind of part.' I'm not a very good planner.

I couldn't say I ever dreamt of becoming a composer, a pianist, or anything else for that matter. I have the kind of brain where nothing is set in stone.

If you over-think, it affects things too much; I work instinctively, like painting in a way. Think too much, and you ruin everything.

Some song ideas absolutely require a kind of rigid discipline, and others require absolute chaotic abandon. The form is only valid if you know how to un-form it. I don't mean to sound like an intellectual here!

I think there's one thing which distinguishes our art - we don't consider. We don't think. We write a little verse because it comes to us.

Any decision that's made about my career is ultimately my decision, and it's helped me not to plan too much. I've never been the guy thinking, 'I want to do a play this year, I want to do this kind of movie or this kind of character.' I don't have that sort of control.

I think there are actors who are like, 'Okay, what am I doing, how am I doing it, what's the appeal? Tell me what to do, what are the exact lines from the script? Okay, I got it.' I am not that way. I would be a terrible bus driver. I'd want to be like, 'Oh, let's take this side road! Let's see what happens when we go down this back alley.'

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

I used to look at composing music as problem solving. But as I get older, it's not about problem solving anymore. There are no solutions, because there are no problems. You just turn the tap and it flows out.

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.