Kristin Scott Thomas Quotes

I don't look at scripts in terms of commerciality. I just look at the part, the people involved.

I'm looking for challenges, and as always, what matters is the script, the character and the director.

As a director, you try to find what is creative.

You pick projects for the part, the director, and the script. I just want to do different, interesting stuff.

When you act in a film, you're inevitably surrounded by people you didn't choose, right down to the set painter. I like being able to pick the family I'm waking up to in the morning that's going to make this group effort to tell a story that applies to what's interesting to me at that stage in my life.

As for doing more dramatic work over comedy, I do whatever turns me on at the moment.

I love doing comedy, and that's the thing I will always go back to, really, but I'd love to have the freedom to do sort of 'meaty' roles but also have the freedom to do the sort of films I want to make, like what Woody Allen does. You forget he's funny because you're so gripped by the story, but they still make you laugh.

As an actor you have to bring to the table your creative input. But when a director like Ridley Scott says I want you to do this this way, you know when he gets to the editing room he has a reason for it. It's like watching a masterpiece.

I'm someone who loves to play. I make films so I can have fun with the characters.

I think journalists and filmmakers are keen observers. And actors must also be sharp observers as they draw their characters and their stories from what they experience around them. After all, that is what actors, filmmakers, journalists are trained to be: observers. And then they do something with their observations.

I think films are bigger than structure.

I just want to make great films and be good in them. And I think that my perception of what's great in a film is constantly evolving.

I'm an actor first and foremost. My producing credentials are just to say, 'Yeah, I love this story and now let's bring the people, the ensemble together,' and I get out of the way. I have no desire to check on schedules and shooting schedules and money and stuff like that.

The thing about this business is that you always end up finding these amazing stories and these amazing people who make amazing films. I just want to work with good people and keep challenging myself with different kinds of characters.

I love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.

Directing is really exciting. In the end, it's more fun to be the painter than the paint.

Most actors go, 'I read the script and fell in love with it'; I fall in love with the directors.

A script can just be a blueprint, and you've got to go in and build it and color it in and paint it.

For me, the most important thing is the writing - and certainly the director. But if the writing isn't there, it doesn't matter who the director is!

Directing feels great; I'm really happy to be doing this.

It's not about choosing a specific genre; that's not how I go about deciding what movies to make.

Directing was liberating and intimidating. It's something I've always wanted to do.

I'm not in a 'starry' position to be able to pick and choose, but I am interested in telling stories of substance with great directors - that's my only guiding principle.

What I feel is great acting might be rubbish for another filmmaker. There is no right or wrong way to do it. It all boils down to the trust between an actor and a director.

I never look at how many songs I have or how many girls are there in a movie. If I like my character, I play it.