Nadine Velazquez Quotes

I have learned a lot from jazz. I compare good acting to jazz music. The more you study and prepare as an actor, the more equipped you are to live in the moment. Just like the gifted musicians in my dad's quartet, it takes a courageous actor to be free.

Don't play the saxophone. Let it play you.

When I over-prepare, I try to let it all go and forget all about it when the camera rolls, so I can just be present with the other actors and allow what's going to happen to happen without too much preconception.

Once I'm on set, the only thing I'm really interested in is being in the room. Being present. And trusting that what I've done is sufficient, and I'm also trusting that I've also left room for magic.

Just write what comes to you.

You need to open up so that more comes through. And you can just feel that when your ego is not in the way and when you're letting it be what it wants to be. You have to let it be what it wants to be as opposed to what you think it should be.

I always want my mouth to be like two steps ahead of my brain and I want my hands to move without thinking. I want to be able to dive into my computer or use my controllers without having to be, like, "Hmm, what would be a good choice here?" You just want music to happen like the same way the sweat's rolling off my face.

The gift of writing is to be self-forgetful, to get a surge of inner life or inner supply or unexpected sense of empowerment, to be afloat, to be out of yourself.

Even when I was in school shows, in elementary school doing plays, I'd always go off book and start improvising.

What a fine line there is between artistry and insanity. There's no formula for it, and I think a lot of people when they're around you - even those closest to you - when you're in that whirl of creativity and you're grabbing those things out of the air, there's no rational process.

I let the song come to me. Then that thing comes to you, and you just know what that thing is. Music isn't like a 9-to-5 job. You never know. It's just the most unpredictable thing.

I think good artists know when they're on a roll, and they recognize when lightning is striking. It's a very fortunate thing to have that inspiration and not to overanalyze it or mess with it; you just follow it if you love what you do.

I no have education. I have inspiration. If I was educated, I would be a damn fool.

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.

We actors are superstitious creatures. We do all the homework, and we put all of the components together, but there's always one key aspect that we're not in charge of, really, and that's magic. You are always on the lookout for where and how that magic is going to ignite.

You can't plan everything - if I did a performance exactly how I rehearsed it, it would be so boring.

Whenever I get the sort of fancy pants idea that I'm doing anything other than pure expression things start to go wrong. When I get too premeditated, things start to go wrong. I just shut that part of my brain off.

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.

I think people who are regarded as better actors must have better instincts because, at the end of the day, once they say 'action,' it's you who has to do it right. You can do all the research and preparation or none at all, but it's your instincts that tell you, 'No, I'll do it like this.'

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.

I don't follow any system. All the laws you can lay down are only so many props to be cast aside when the hour of creation arrives.

Just get a bag and drop a dream in it, and you'll be surprised what happens.

Once in a while, I do these things that would make the 10-year old version of me laugh. I don't know why. You've got to do something a little bit immature. I'm surprised at how often those are my best ideas.

My inspiration is endless; I can't define it. It is a constant flow and evolution. In general, I'm taking it from everywhere. People get nervous when they walk with me, as I'll see something and suddenly have to text it to myself.

In a way, as an actor, you do all the preparation and then you want to forget it and just play the scene. As a director, you can't forget it because somebody will remind you that you forgot something. But you can know your plan well enough that you still have a certain amount of freedom.