Penelope Spheeris Quotes

I love the entire process of being on the set and being able to create a character. It's so much fun. In 'Think Like a Man,' I have a very small part. They told me it wasn't a big budget, but I don't care about any of that. I'll do it for free simply because I love being on the set with other creative people.

It depends who the director is you know, I mean Ken Loach for instance. I've done up to 32 takes with him.

Really top-notch directors, I've often worked with them just to see how they work.

I think I've had pretty good experiences for the most part with the people who have directed my screenplays.

I remember in Shallow Grave I remember a few times when we'd only have to do one take. But when you did have to do more than one, you'd build on the one you'd done.

I've certainly worked with really great directors who haven't acted.

I like to just work with great directors.

I'd jump to do a film with Aamir Khan. Aamir thinks through things before starting a project.

I worked with Michael Goode back in 2009. We had done a short film together where I was the actor and he was the director. We got on well and I always remember that being the one of the first acting jobs I did.

Just getting to meet George Lucas was pretty amazing, and then working with him and getting to be part of this process... it's a great responsibility.

I'm not the one or two take guy, but I'm not the 20, 30, 50, 70 take guy either. If I do a bunch of takes, like more than five or six, it's usually for some technical reasons.

I spent a couple of years doing American films. I did a few.

A lot of directors in my experience are very receptive. They see what you do first, and then they want to find a place to put the camera, and they tweak you here and there.

I've constantly done my best to get the best material I can get with the best directors I can get to direct me.

I've gotten to work with some wonderful directors and people who have been great teachers to me.

I'm not saying I'm a writer, but I've been in movies for a long time, and I think I could write a script for a movie.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

I don't really know Hollywood, but living and shooting in L.A. was very motivating, inspiring. The lights, the extras, their American faces, the energy, the Orpheum Theatre. It was all very inspiring.

When you are an actor, you have to stay inside this world, but when you are with the crew, on the outside, you are in the dirt, working through all the issues. It's just a different way of working, and I think I preferred it.

I did a lot of theater, so especially as an on-camera camera actor, there are so many things that aren't in your toolbox. They're somebody else's job. You think about editors and rhythm. Volume isn't even in your control.

I loved working on 'Donnie Darko.' I learned a lot from the cast, Jake Gyllenhaal and the producers. I love doing what I do because I get to meet so many great people.

Prior to Saving Private Ryan I never worked with men. I was always working with some babe, and it was always about falling in love, and it just got turned around. I'm not looking for any particular kind of story. I wait until it comes across my desk.

When I was younger I didn't really know what a director did: I knew I loved movies and I figured the actors made it up! And then when you get to 12 years old you start thinking, What does a director do? It was really an organic beginning: this looks like something I want to do, I can't believe people get paid to do it!

I had a friend in high school who badly wanted to make movies and would recruit me as an actor. It was always so much fun. I decided, I'm going to go to Hollywood and make movies, which is a thought I'd never had before.

There are lots of people I'd like to work with. It would be fun to be in a movie with Mary-Kate Olsen and Ashley Olsen.