Lauren Ashley Carter Quotes

In making films, I'm constantly looking for people who are in conflict and who are going to surprise you and challenge you.

I've always thought of, of a relationship with an actor to an audience as a marriage, you know. And a story, you know. And there are ups and downs, and you work through them, and you work with them.

At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.

The thrill of doing 'Good People' is I love those kinds of stories, and I'm good at them, and it's wonderful to see that material given to a terrific director and a terrific cast.

First and foremost, I look for a great script. Then, the team that I am working with. Only then, we will be able to come up with a good film.

I'm happiest when I'm discussing a script and working with interesting people.

As a former reporter, I wrote 'The Scarecrow' quickly - I didn't have to think about what the character would do the way I do with Harry Bosch.

I personally have not spoken to Marvel and have no plans to do a movie in the immediate future because, number one, I'm tied up with 'Somnia,' which is a fantastic place to be. It's exactly where I wanted to be.

I thought Mia Hansen-Love was a true auteur, and I always wanted to work with her. Mia's empathy for her characters and her ability to use the language of cinema to communicate real human depth is extraordinary. She's a humanist.

Establish character - otherwise, it is difficult to connect with what is frightening.

With 'Worst. Person. Ever.' I knew where it started and where it had to end, but I threw Raymond as many curveballs as I could along the way. He's like the coyote in the 'Road Runner' cartoons.

I worked with HBO on 'Recount,' and we had a wonderful experience together. I'm such a fan of HBO and how much flexibility they give in character as well as schedule.

For the most part, romance is written in third person, and it's written in multiple points of view, so you're in the hero's head, and you're in the heroine's head. I've always said that I'm more of a narrator than a creator.

For me, being an actress, my responsibility is not to pay attention to all the noise around me and to pay attention to the script and the director and protect the character and try to tell her story the best I can.

There are many great writers out there and, actually, great scripts. The problem is - and this is what I've always felt, even when I got out of school and started reading scripts - the really smart, character-driven stuff tends to be smaller films, and they just don't get made.

Each time I make a movie, it's a little bit like taking another course in something because there's an argument between these people that I don't necessarily have an answer to.

Being on the 'Alex Cross' set, and watching and learning about and paying attention to everything that was going on there, I realized, 'Here is a moment for me to learn.'

With 'Fruitvale,' I was very fortunate to be part of the film, and, God, everybody was just incredible.

With any role I play, I find out what the human problem is first.

Filmmaking is so heavy: there are so many people and trucks and teamsters and costume people and hair people and makeup people. I try to make it light and as simple as possible. It's great for actors. It puts the story up front. It's not about shots and dollies and lighting and sets.

With TV season structures - and I'm a huge TV watcher - you look at shows like 'Breaking Bad,' which is my favorite show of all time, and 'The Sopranos,' which is pretty high up there as well, and there was that thing where, every season, Walter White would go up a level, but there would be a new bad.

Priyadarshan makes good films because he is a good writer.

Every film is a human encounter. It's people trying to collaborate and create something together.

Story is the primary factor any day. If I believe that a particular director would do justice to it, I will accept an offer.

It's much easier for me to think in terms of character movement and emotion and story rather than, 'What are some wacky hijinks we can throw together?'