Lou Doillon Quotes

I think that any actor - any artist, period - would love to work with an artist like Lee Daniels.

I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.

What goes on between the actor and director is sacred.

To have a director that loves his actors is something that you can see in the film and in the fruits of that labor. You can see that translated in the film. When you watch this movie, you can see a director who loves his actors, and it shines through the movie, in my eyes.

I must say, to my great surprise and pleasure, I deeply loved making movies in the United States because of all the opportunities it gave me to work with people that I admire as artists.

Tim Story is a fantastic director, and I'm so excited to get to work with him.

Filmmaking is such a collaborative piece of art that you can't look to one person - you couldn't look to me, you couldn't say, 'Because Vin's in it, it's this or that...' It's really all of us coming together for that period of time to try and make magic.

I've had wonderful collaborators. They're very different, just as actors are. Working on a show with Nathan Lane is different from working on a show with Chita Rivera. It keeps you on your toes because it's different every time.

To be honest, the real reason I did 'Drive' was because of Nicolas Winding Refn, the director.

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

I work with a stylist called Devon Nuszer and a makeup artist called Aaron Barry, and between those two, I trust them implicitly. I have the things I do over and over again and that I feel safe with, but they inspire me to take risks, and I trust them so much.

You can be playing a line some way and the director wants you to change that, or you can disagree. But I always think that the creative conversation between director and actor is what leads to good work.

One of the things I love about working with my brother is that there's a commitment there - an unwavering commitment. From our basement in Illinois when I was three years old to Iceland on a frozen glacier with Matthew McConaughey and Matt Damon in spacesuits - there's a commitment to the pure spectacle, the pure cinema of it.

It's such a strange combination that I'd be unhappy to make anything like that without Landis directing.

I worked with Steven Spielberg on Amistad... he seemed so very secure in himself that he let me do things.

I feel like I'm a secondary artist, a kind of a conduit for the writer, and if it's a good writer, then I have a great road map.

I'd work with Danny Boyle every day of the week. No matter what he was doing I would do that.

I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sure.

To work with Ken Branagh was amazing; it was always a dream of mine to work with a man as creative and talented as that.

I've just got into the convention circuit in the last couple of years and it's great to see all these people who are still interested in the show. It's so gratifying to hear that so many people enjoyed the work that Erin and I have done.

I'd like to work with David Lynch again.

Every director's so different. Everybody has their own modus operandi and I love getting to know different directors in the way they work. David O. Russell is very exciting to be with because he's got a mind like quicksilver.

I've worked with David Lynch since I was 17, and working with him is home and family; being around Alexander Payne is home and family, Jonathan Demme. There are directors... Robert Altman, Paul Thomas Anderson... They are directors where I create homes.

If a director can't figure out what they might get from me or whether he or she wants to work with me based on what I've done, then I can't tell them anything more than what they don't know already.

If you understand each other's way of thinking, you understand what kind of film someone is trying to make, and all the ideas that I come up with will fit into that film.