Angelina Jolie Quotes

From an artist's point of view, I always want to work with the writers I admire.

Wynton and Christopher were really great experiences for me because they are both very gifted artists.

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

I like to work with artists from around the world. There are so many new inspiring filmmakers.

I'm lucky, I'm very, very lucky. I work with some of the most amazing artists.

What's good about many people liking the work is that when I want to collaborate or am interested in the synergy of artists working together, nobody ever says no to me when I ask to work with them.

When I commit to working with an artist, I give them as much respect as I would like and if I'm not going to commit that way, then I don't want to work with you.

I feel much more comfortable as an artist collaborating with others because I feel more mature.

I want to be with the man who wants to open a movie studio with me and make films for new, fresh filmmakers who aren't getting a chance somewhere else. I haven't yet had that type of partnership in a romantic relationship.

The relationship with a producer and an artist is really special. It's got to be love and respect, amazing mutual respect for each other, because that's what makes a good record.

If a good editor will let me tell my story with the right artist, I'm happy.

A great editor is the most valuable thing you can have as an artist because, as you said, sometimes you get too close to something. I think, apart from your talent, that's why you have the career you have - because you have great people behind you.

My bottom line is that I think Ridley Scott is one of the greatest visual artists of our time and I feel very privileged that he wants to work with me, so I go with that flow.

Just because I'm a younger artist doesn't mean I can't work with a veteran and vice versa.

I think the public needs to be reminded just how much inspiration and intention was given throughout the world to be bold, to send human beings to the moon in the '60s and the '70s. It's important now to bring together the nations that weren't able to do it then and help them do it. We need to move forward.

It's really interesting to observe each filmmaker's approach to filmmaking and I feel very fortunate to have worked with a lot of really interesting filmmakers and they all approach their job in unique ways.

With a film you go with the script that's already written. And I've never thought of a project, a film that would come from my own desire. I don't think I can do it. I need someone else's desire to be able to do something. With a record, it is completely different, it's a collaboration with another artist, but I'm willing to go into intimate places with no masks on.

I never heard Coen brothers get defensive, ever. You get with these filmmakers doing the hardest work in the world, and they're not defensive. They're happy together, they crack jokes together, they have different opinions - and it doesn't bother them that they have different opinions. So no wonder their work is so good, because you're getting two for the price of one.

When you work on a graphic novel or a film with people you've been together through a lot and you've exposed your secrets and weaker sides to each other.

Surprisingly, I don't throw away that much. I don't move forward with a lot of things unless they're going somewhere. You also have to remember that when you're working with other artists, you have to be really careful about how you deal with that stuff.

You need others. Too often people think that being unique means being isolated, and being a great artist means coming up with genius ideas out of nowhere. Nothing could be farther from the truth.

Schiaparelli’s collaborations with Dali and Cocteau as well as Prada’s Fondazione Prada push art and fashion ever closer, in a direct, synergistic, and culturally redefining relationship.

The longer I've been writing scripts, the more I find that you have to give the artist more leeway or else you'll just be disappointed. You can't force them to draw every image that's in your head. Since I'm a horrific artist, I wouldn't want them to anyway. So I definitely give them a lot more leeway now than I did at the beginning.

I consider it a great honour that my movie Drive inspired so many wonderful artists to come together and create one ultra-cool glam experience.

Because Guillermo's [del Toro] obviously a painter painting a picture and my job is just to provide the color that he probably already has in his mind.