Sally Hawkins Quotes

Wrestling is like any form of drama or pretty much any form of entertainment - some people understand this about forms of entertainment really intuitively when they're younger, and others would have to be really not very intelligent for a long time until we realize that every human mood is an art.

My mentor, [Ingmar] Bergman, when we worked on stage, he said you can't convince a thousand people at the big stage where we were working. You can't convince everybody, but just pick one every night that you perform for and make sure that he or she will have an experience that alters their life in a more positive way. So, just one every night. That's worth all the struggle and screaming.

If I've got a talent, it's for picking the right song at the right time for the right audience. And I can always get people to sing with me.

I don't have a favorite genre. I love to work and live vicariously through every character. It's all about trying to bring the character to life and get the story across in a way that resonates with the audience. It's always interesting and challenging in a gratifying and unique way.

Action alone doesn't work in Germany - you need an emotional element to the story.

Nothing is more rewarding than to take a song, create it out of thin air and then watch it affect people.

I don't want to just entertain people. I want to touch them.

I'm the type of artist who touches people, that's the type of artist that I am.

Don't make art for other artists or for 'intellectuals', make art for people - and if you can touch just one person in a lifetime and make a difference - you have succeeded.

If art doesn't move people, then art has failed.

The reason I'm an actor and am trying to make my way in drama is to move people, to affect people, to gain a response - so these people who come up to you in the street are your audience.

There is some mysterious thing that goes on whereby, in the process of playing Shakespeare continuously, actors are surprised by the way the language actually acts on them.

I think the serious roles impact people the most.

A defining moment takes a long time to get over, if you ever do.

With some artists, I've noticed that after their songs have been licensed, on their next album you can totally hear they're trying to write a song for 'Grey's Anatomy' and it doesn't work. It's just one of those things that has to feel genuine to last a long time.

In the first test screening of 'RoboCop,' it tested very high. Then they asked the people why they liked it, and the first answer was, 'I liked it because it was political.' And the second answer was because, 'It feels like it deals with current affairs.' And the third answer was, 'Because it feels emotional.'

I want to be able to make people laugh and cry and feel happy or sad and feel all these different emotions through singing and acting. Hopefully throughout my career, I'll get to pursue them.

I went to see 'The Piano' with Holly Hunter when I was in a Paula Vogel play, and I was just gone. I couldn't focus at all. It took that creative part of my brain with it so absolutely.

When onstage, I always try to take my audience through as many emotions as I possibly can. I want them to go from laughter to tears, be shocked and surprised and walk out the door with a renewed sense of themselves - and maybe a smile.

Some shows just go away - and that's fine. They serve their purpose and their entertainment value, but there are shows that touch people in different ways and that they remember.

I found out a long time ago that if I didn't have a good story for a song, I could just make one up! Now it seems over half the stories in my show are made up. The funny thing is, those seem to be the ones that resonate the most with the audiences.

My whole thing as a performer is to affect people, whether I make you cry or I make you laugh. I would love to make you think.

When you play, it's like you know that there are people out there who are hearing it for the first time, and I think that's really important.

I like making movies that people feel inspired by, a film that they will think about a few days after seeing it, and not entertainment that is completely forgettable the moment you walk out of the theater.

I never want to make the kind of film whose impact ends when the audience leaves the cinema.