Alexa Chung Quotes

I'll be the songwriter for pop stars and then they can be the front person and I don't have to be famous.

Personally I'm very happy to be behind the scenes. I like collaboration, I like working with directors.

I've worked with some really great directors, and I'm really choosy about them because they're telling the story at the end of the day.

I'm like a conductor. I come up with ideas, and I get all these people to make great music together. I have a team of really talented assistant designers. I have architects in my office. People I trained from the beginning in menswear, womenswear, and home. I have a great team who know what I want and feel and translate that into beautiful results.

I don't necessarily want to direct because it's too much work and I don't have the attention span to stay with it that long. But I think getting everyone together on something that appeals to me and developing the material is something that I like to do.

I think even if you're on a screen or you're in a play, it's always a group effort. It's not just the actors, it's the editor.

I'm just looking forward to doing these videos with AXE. Doing more directing, collaborating with them, finding ways to kind of like tap into temptation with their market and their audience and mine and find cool, creative ways to get the brand out to people. And I think they're doing a really, really good job. So we've got some cool stuff coming up.

I wouldn't mind collaborating with anybody, but I don't want to design anything, I'm not a fashion designer.

I think that as a playwright, if I detail that environment, then I'm taking away something from them [designers]. I'm taking away their creativity and their ability to have input themselves, not just to follow what the playwright has written. So I do a minimum set description and let the designers create within that.

Fortunately, I have an amazing partner that allows us to do these different things, who will be directing an episode himself soon, I'm sure. But, it's amazing. I love directing and I think that it allowed me to get closer to the actors and actually work with them on a level that I haven't before, and really get down there with them. I would jump at the chance to do it, anytime I could.

As much as I love acting and I hope to be doing it for a long time, it almost feels more natural for me to be a producer. I came into all of this because I'm a fan of movies and I wanted to find any way I could to be a part of it all. I happened to take the acting route but it could have been a million different ways in. Now that I'm producing it's just really fun for me to work with people that I really admire and put people together who I think will work well together. Just having a little more control.

I really enjoyed it - being involved in watching rushes and playback [in "The Invisible Woman"]. Ralph [Fiennes] was very open to my input, I think knowing that he couldn't always be there 100 percent, that he had dual aims with directing and acting.

The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."

There's so much stuff going on behind the cameras. Sometimes people think these things are done certain ways and when you watch that you see how hard and down and dirty it was.

I think my favourite memory from filming 'Jurassic World' would just be a compilation of me running through the jungle in heels, and just how absurd that really was. That that actually happened.

I just think they were just a team that really enjoyed the process and allowed our coaching staff to enjoy the process.

I do think it's a very good way to describe what a great actor does. You're both acknowledging the authority of the director and the necessity of the actor to push back and find their own voice.

All I've learned is that you need the studio system sometimes, if your budget is a certain size, and other films you can do independently. When I think of a studio, I generally think of distribution. Since I'm a director, I have a similar creative experience on every film I do, because I can control that. But then it's a different film, I think, as it reaches the public, depending on the way it's marketed. I don't know. I haven't learned much of anything. Sometimes you need them, sometimes you don't. Sometimes they want you, most of the time they don't.

What is absolutely true is that any good [Television] series has a specific voice. And I think that voice is almost exclusively the domain of the executive producer. . . . As a staff writer you're not being called upon to be the great creative person. You're sort of called upon to understand the characters and their voices and put them through certain paces.

Showrunning is a thing where you have to work with tons of different people. You have to schmooze people, you have to talk to network people. I don't want to do any of that.

When you think about it there's never really been a realistic exposition of Hollywood, I mean - from the inside - showing Hollywood what it can do, what it has done, to people.

The books are always there, just the way you wrote them. The plays often don't turn out the way you wanted them to because in the theater, you're always involved with collaborators and they don't always see the work the way you do.

There is no nation on the planet better able to adapt to this change than our nation. We must able to work collaboratively with others. We must anticipate these threats before they happen. This is the new sort of challenge, the new sort of threat that does, in fact, require new thinking, fresh approaches and new leadership.

I think I've had pretty good experiences for the most part with the people who have directed my screenplays. It's more that I wanted to see what it would be like if I didn't have to collaborate with anybody, to have a sense of purity of the thing from beginning to end. I liked doing it. It's really different from writing. Directing is a more pragmatic experience, where you have to deal with the restrictions of time and money that force you to make certain decisions you don't have to make when you're writing.

To make what you have in your head, I think that's what directing is.