Martine Syms Quotes

The reason is that they define how I have gone about my business. I have trusted to intuition. I did it at the beginning. I do it even now. I have no idea how things might turn out, where in my writing I might go next.

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

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

Artists of all disciplines must be willing to go into the dark, let go control, be surprised.

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

Trust that little voice in your head that says 'Wouldn't it be interesting if...'; And then do it.

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.'

I think you always have to go as an artist with instinct, I really do.

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

It's very important to understand that we never do the same thing twice; each of our projects is unique. We'll never do another 'Gates.' Each project is a unique image. We do not know in advance how the work will look. I do preparatory drawings, but they are only projections of our vision.

A true artist, in my mind, is willing to fail sometimes, because if you're not brave enough to say yes and follow your gut, it's never going to be good.

Creativity makes a leap, then looks to see where it is.

A true artist, in my mind, is willing to fail sometimes, because if you're not brave enough to say yes and follow your gut, it's never going to be good.

Directing is like meeting a woman. You don't know her, but something strikes you, and then you just have to go into it.

When I'm making stuff, the thing that excites me most is not the result, but the process and trying to do something I've never done before.

No dance has ever turned out the way I thought it would, because I trust enough that I can start something with some ideas and then it takes itself somewhere.

I don't want to pigeonhole myself in one character or genre. I want to challenge myself as much as I can.

I've come to trust that what I like is what works.

It's so important to work with material you can really mold and milk and create and evolve.

With Fincher, you can take chances and try things. And what happens is that any pretension and preparation you've done, all the square, intellectual work, you can't keep that up for 40 takes. It breaks down, and new things start popping up. This, for me, is the most exciting thing about film-making.

My idea of artistry has always been 'try everything until you find out what works.'

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

I wanted to create a body of work that I was proud of. It's come from honesty and integrity, without forcing anything from myself, the ideas had to come instinctively and organically. Whether that translates to people in that way, it's kind of out of my hands now.

I can only go with my gut and say what I would like to do, and then my producer comes in and makes it happen.

I'm a director's actor, and I surrender myself to the vision and the process. I think nothing else matters then.