David Warner Quotes

I can't stand directors who try to micro-manage everything. When it happens these days I just walk off set, saying if they don't like the way I'm doing it they can get someone else.

I love to work. It's the idea of having someone else tell you how to make your film or how to sell it - that's the part I can't really deal with. I would rather do 1,000 things that are work than deal with one thing that's a political problem.

Actors always have opinions.

I'm a working actress able to make choices based on characters rather than what I 'should' do for my career.

I hope I'm in a position to make stuff that I really want to make as opposed to stuff that I just have to make for money reasons, or to sustain a certain marquee value.

I've learned over the years that the best way to develop as an artist is to make things. So I tell young artists it's not enough to be an actor anymore, you have to be a filmmaker/writer/director. There's no excuse for waiting around for a job. You have to be active and make things.

I don't want to be doing movies that I don't want to do. They take so much out of you.

I am in that glorious position where I can redesign and re-package my own work.

All the artists out there, I ask you and beg you: Take over your ship. It's your career. It's your life.

Everyone wants to do only those films which they find interesting. That is the way the industry works.

I want to make big movies - but I don't want to have to die a little death every single time I do. Until I meet the people or the studio or the business people who will let me do things a little bit more the way that I need to do them, I probably shouldn't be making big studio movies.

After I got back my career and my artistic freedom in 1982, my golden rule is the music must never suffer.

I'm very lucky that I'm not a photographer for hire - people hire me for me. I go into every commercial work with an art focus, with that lens; every brand I've worked for just lets me do whatever I want to do. I have full creative freedom.

I like working with directors I respect, who give me freedom but also give me a good base from which to work.

It's an all-inclusive package, when you get to be creative and run a little country while you're on a set and doing it with people that you enjoy working with and you all have a say in it.

I don't want to move over to Beverly Hills. My goal is to make the movies I want to make and support the people I want to support. That's it.

I just try and do something good. But as a writer, you're slightly out of control.

As a model, I am at the mercy of everybody else. It's much more of a situation where I go to work, put the clothes on, get in front of the camera, and then go home. But in that process, I never really have control over any of it. So, putting out a record, it's such a brilliant opportunity to be in control of things. It's my world, my music, and I can put it out there in a way that is meaningful to me.

Those titles, Executive Producer or actor, are unimportant. I always try to approach my role as an artist. The first thing you want to do, that you attempt to do as an artist, is to have some sort of input into the material that you are working on. That is how my process begins; I say to myself: "I want to do this kind of work or I want to do that kind of work."

Having total freedom to direct my own movies is more difficult than those I was hired for, where the framework has been already furnished. Unlike with my own work, I don't have to deny or feel embarrassed at the straightforwardness or orthodoxy of the directorial style, because I can say in excuse, "This is how I was asked to direct by those people."

I'm trying to give people the chance to put out their music without the bullshit pressures of other labels.

When you're on a lower-budget film, with one guy who maybe has a camera strapped to him, you're a much bigger part of that pie. You can be a sliver in a big Hollywood movie, but you can be a quarter of that indie movie pie. And I feel like, first of all, there is a real freedom that you feel from that, because it's like, you know what, if this is terrible, nobody's gonna ever see it, so I can be more brave.

I invest because I'm really a firm believer in letting the artist make their work, if you choose to work with an artist then you give them the go-ahead.

I think it's possible to be free in a big production. It's the eye of the director and the actor and the story.

Either the camera will dance, or I will.