Gail Simone Quotes

Unfortunately, we are not painters and authors, where we can do something in isolation. We require a lot of money to create what we create. It's almost like being an architect: You can't be an architect and build whatever buildings you want to.

I wanted to trust in my partners and the directors and producers and do the best I can to deliver what I could deliver.

One is that you have to take time, lots of time, to let an idea grow from within. The second is that when you sign on to something, there will be issues of trust, deep trust, the way the members of a string quartet have to trust one another.

It's like, the more you commit, the happier the animators are; if you're at all iffy and concerned, then it doesn't free them up to do as much fun stuff, so you have to just go for it and, again, trust the people around you and not be seemingly guarded and numb. Throw caution to the wind a bit.

When you empower people you sign up for a life of uncertainty and change.

For me, the director is the most important thing. He is steering the boat. If you don't trust him, you won't be able to give him your all.

A good director is like a good coach. You want to play for him. You want to really show him your good stuff. You don't want to let that person down. Ridley Scott is one of those guys.

We've been very lucky with the 'Being the Elite' crew that everyone is very passionate about pro wrestling. There's no crooks in the group. Everyone's ideas are valued. And everyone who has something they pick and put on the map, they are fully going to commit to that.

In terms of leadership, you've got to allow for people to be amazing and to contribute in a way that's meaningful. You can't hold on so tight that people don't get a chance to do what they do best.

I want a strong team-mate and one that is challenging me.

I love the flexibility of saying, "Today we're making 50-foot paintings, and we're going to have to join hands and figure out how that's going to work." But in the end, it's a possibility.

What a director is looking for is someone who will follow you and no matter what. And if you ask for blue, he's gonna try blue. And if you say, give me a piece of red with it, and they try. And you don't mind so much if it's difficult to get the blue and the red together. As long as they try. And as long as they give everything they can to give you what you want. That's what I'm looking for.

I aspire to be an instrument of the director. I'm happiest like that. The stronger the director, the more I'm willing to give them. It's not just about admiration for their films, it's how they deal with you, and whether they get you or the way you work. If they don't, you better adjust your way of working to suit them. I want to work with people who are good at what they do, and people who are passionate. As you get older, you suffer fools less easily. That's why there's all those cranky character actors. I'm an exception. I'm a sweetheart.

When you trust your director completely, then you can relax, be spontaneous, be malleable.

Making art, being creative, is risky, especially for actors, but everybody on the set is being creative. You're putting yourself out there with ideas, and to have your brain be free of stress so that it can actually do its best work, it feels like you want to have a real sense of intimacy and connection and trust with everybody.

All of the artists that I've worked with have an incredible work ethic. And Madonna has the best work ethic of them all. I've learned a lot from being around her.

I tend to share whatever I know in general. I've never been a person to horde information for the sake of my own skin, you know what I mean? Not share so somebody doesn't take your job, I've never had that kind of insecurity. I also had a management company, too, so we were always one of those companies that shared information with our artists. Whatever they wanted to know, as much as they wanted to know, they could know.

That is an amazing experience, because we with director Christian Petzold know whenever we criticize each other, it's for the best, and you don't find that very often, that you trust each other so much. That's a special thing.

Not harder than it should be, no. We're about the business, we're about the work. It's all about the work, always. We have fun and laugh and there're days that are more intense than others, but we're there to make it better. He's always going to try and make it better, I'm always going to try and make it better. So you accept anything, you accept whatever it takes to get it up on the screen and make it worthy.

Much of what you do as an actor - it's who's around you, what's the environment, where do you fit into this thing. That's really work that's impossible to do on your own, at least for me. I find it hard to pre-plan every element of everything I do. It's not my thing.

I'm really a big believer in working with people. It's challenging for me to come into already integrated brands and find a way where I can put my own flair on it.

If I'm talking to a photographer, I'm talking to a stylist, I'm talking to a makeup artist, we're kind of creating and collaborating and making something that is artwork and is special and is different.

I'd rather work with guys that have time to live with you, and let it gel.

If you set up an atmosphere of community and trust, it becomes a tradition. Older team members will establish your credibility with newer ones. Even if they don't like everything about you, they'll say, 'He's trustworthy, committed to us as a team.'

Aside from that i’m an introvert and i’m a quiet person. The benefit of that is I listen. It’s not like my mouth is open and I broadcast everything and i’m drowning everyone out. When I’m listening to the incredible artists I work with and i’m hearing their specialised advice on what they would do with something then we can, all together, as a big collaborative group, all work together to achieve something together.