Rasika Dugal Quotes

A lot of time you write out of some unconscious place. I try to trust what is coming and where it wants to take me.

You have to draw on your unconscious when you make a film - you can't worry about whether it's costing a lot of money.

To some extent I happily don't know what I'm doing. I feel that it's an artist's responsibility to trust that.

The other thing in composition is opening up the unconscious.

Imagination has rules, but we can only guess what they are.

When I started writing, I was a great rationalist and believed I was absolutely in control. But the older one gets, the more confused, and for an artist I think that is quite a good thing: you allow in more of your instinctual self; your dreams, fantasies and memories. It's richer, in a way.

I'm very happy for others to engage in conjecture, but if I was ever conscious of what I'm thinking about when I'm writing, oh my God, I'd be totally lost.

Everything that I am going to do as an actress doesn't matter where it's coming from. It just has to be interesting.

I'm not really a guy who draws on things from my own past. I think if you're a competent actor with a good imagination, and if it's on the page, it makes your job a lot easier. If it's well written, it allows your imagination to run wild and draw inspiration from that.

I base everything on my instinctual approach. There's something very satisfying in that creativity, and it's a bit like an infant drawing.

When you're writing a 25-minute episode that can be anything, sometimes you just start with a character, and you let them walk into the room. Then you let your instinct guide you. That's how we made art when we were 15 years old. And that's so fun to us.

The freedom to create is somehow linked with facility of access to those obscure regions below the conscious mind.

To me, the question of inspiration is an exercise in hindsight. The truth is, inspiration is mysterious at the time. I don't think it's ever a rational process.

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.

When I decide to write a story, I don't think too much about what I want it to be, I just let things come naturally and this is how it turns out. It's just how my subconscious works.

As an actor, our very palette is one of imagination. So it is a walk onto an empty space and then imagine the world beyond it is what we do.

I guess Surrealism has a draw for me because it's an unknown world. It's a world of subconscious. Some things you can't really get your hands on very easily. Things that are kind of nebulous and they feel like they're not completely formed. You have to feel your way through that.

The thing about Brando was that I'd make these directions, and he'd walk away. He'd heard enough... to get the machine going.

I find it easier to play someone who is so far from me because you create someone - you build this person based on the story and the script, with the director.

I prefer to surprise myself as I'm writing. I'm not interested in it if I already know where it's going. So I have only the most general sense of what I'm doing when I start a story. I sometimes have a destination in mind, but how the story is going to go from Point A to Point Z is something I make up as I go along.

I might be writing what people expect me to write, writing from that place where I might be ruled by economic considerations. To overcome that, I started working with my dreams, because I'm not so censored when I use dream material.

All stories come from the subconscious - which is why it doesn't make sense to over-plan.

Artists live in unknown spaces and give themselves over to following something unknown.

I'm at the mercy of whatever character comes into my head.

My approach to acting is that I am totally intuitive. I read the script and I get it. If I don't get it, I can't do it.