Anushka Sharma Quotes

If there's anything that I've always said about myself is that to me, it's much more important for me to get to work with filmmakers that I've grown up loving and admiring.

In this artistic world, you might as well find a way to work with somebody that you have admiration for.

I mean, I'm willing to do anything with Chris Chulack - he's one of my favorite directors I've ever worked with, and I just think he's a fantastic man, and a great creator, and a good friend.

I don't know if I actually respect other artists as people as much as I should. I look at their work as excellent data that feeds my mind as nature feeds my body.

The success of a film is always a combination of many people's efforts.

If you succeed at all, you find yourself suddenly working with artists whose work you don't just admire but you deeply love.

When I work with Future, it's almost like a work of art.

Whenever I work with people who are nonclassical artists, I kind of get a kick in the pants. I think, 'How can I apply what I do to their music?'

As an artist, it is heartwarming to see other artists appreciate your work by making covers and renditions of your original track.

I had attraction to work with Ang Lee. I wanted to work with him.

Apple, of all the global tech companies, was the one that understood why artists make things.

I'm so honored that there are people, peers, that I'm inspired by and looked up to for years and actually want me to do my thing with them. It's quite the honor, and it's been wonderful to see everybody's fan base kind of melting together.

It might crush a lot of people, but I've never been in the room with an artist that I've written a song for.

What Joanna and Solange and Kanye all had in common was a mental image of what the sound is supposed to be. As a collaborator, my goal has to be to help them get toward that mental image. That was cool.

I prefer working with artists who are prepared to get down in the dungeons and get the job done.

Any time you get to work with creative people - animators, actors, directors and producers, all of this - it helps to refine what tools you'll need moving forward.

I like to know that my actors or my performers are going into it with the same amount of passion that I have for the project. They're as dedicated to achieving as I am.

When I go in the studio with Post, I have a really good idea of what he's going to gravitate to, what we can work with.

The most basic excitement was the opportunity to work with Dave Cockrum. He was an artist I'd admired for years and our imaginations were ridiculously simpatico.

I went to work with George Miller on game stuff, but to also learn every possible thing I could from somebody I admire so much.

24 hours a day, I'm thinking about what we can do with this artist, what I can do myself over here, and how we can tie it all together.

Rahman is very very director friendly. He is ever ready to go whichever the director wants, the story wants, depending on the kind of movie or the music you want, and within that he finds his niche. It is a constantly complementary process. At the end of the day he is not pleasing you, he has to please himself.

The concept of making a movie in which the director dictates is kind of exotic - and absolutely not truthful. Directing means allowing a great deal of collaboration and listening and having the ability to change your mind.

I feel that I don't know anything, I don't know how to act, but I can surrender myself to a director I respect and love. I feel very lucky to be a part of their visions.

There was a part of me that wanted to take my place next to, you know, Debra Granik. She's such a hero for me.