Marguerite Moreau Quotes

That's what I've always wanted to do - work with my favorite writers and make something from scratch with them that we can feel like didn't exist before we came in the room.

I truly believe that cinema is a collaborative effort, and as long as I get to tell, and be part of, interesting stories and work with genuine people, I don't see any project as a 'risk.'

Art is not the kind of thing where you get what you put into it all the time. So I learned to not expect anything other than the sort of joy of having a poem in front of me.

Jeph Loeb has been great to work with, and he's been really supportive of some really bizarre ideas I've had.

My favorite thing as a performing artist is to get a pile of raw material from a writer who says, 'Will you help me make this real?' There's nothing like starting from scratch.

As an artist, you want to play around with mediums and see if you can get the point across in different way.

I would like to use stories as a springboard for children to make their own creative responses. I would like to encourage them to express themselves using music, art, film or whatever, and upload it to a website having been inspired by particular stories.

I've had shows as a painter, as a photographer, I've done shows as a sculptor. I've done a lot of different things and it all comes from experiences that you have in your life, in your creative environment. They all help - I don't even know if they help; maybe they make it worse but they all influence each other, for sure.

I've come to realize that the contemporary creative culture is not generating the best possible outcome.

To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.

You can never tell when an artist really will take up someone's work and work with it happily.

The main thing as a director, you always want to have a bit of a worry about the material you're going to get yourself into. You want to be a bit scared of it so that you have that excitement of having to climb the mountain.

When you're making a film, you become incredibly close. It's not like you're filing away papers all day. You're creating with human emotions, so you do become very connected, so it is familial and romantic.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

I hardly ever go into the studio with a work complete in my head. It emerges from communal activity.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

I don't care what I do - act, stand-up, write, direct - it doesn't matter as long as I'm being creative and it's good work.

In any art, you don't know in advance what you want to say - it's revealed to you as you say it. That's the difference between art and illustration.

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

I started producing work with an ecstatic addiction.

I always prefer shooting on locations, because when I'm at home, it's harder to sort of get lost in the world of whatever you're making. It does, it does force this bond and community amongst a group.

My influences change all the time; they have to remain current, because they're the things that capture your imagination and make you want to go into the studio.

I love doing features, but it's a very different ballgame. Sometimes I yearn for short films again, working with a small team, getting my hands on the clay.

Rule of art: Cant kills creativity!

I never look at my watch when I'm sketching!