Rachel Keller Quotes

I really just want to work with good directors and learn as much as I possibly can.

I would love to just keep working with really great directors who really inspire me.

I tend to get hired because the filmmakers like what I do, so there's usually not that much conflict about the direction.

I love great writing. I like interesting characters. I like to work with people who push me to be better, to elevate my game.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

Although Bill Finger literally typed the scripts in the early days, he wrote the scripts from ideas that we mutually collaborated on. Many of the unique concepts and story twists also came from my own fertile imagination.

If you're lucky enough to work with great actors and creative people, they're always just going to be who they are, so I don't think there's a difference between the Brits and the Americans.

And I just want to work with good directors and good people.

When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.

I'm just gonna make movies the best I can, do the festival thing or whatever can come. I plan on working with a lot of the same guys over and over again. I hope the majority of us can stick together.

I like working with different directors; it keeps you on your toes.

Collider is a company that I formed with a movie producer, Alisa Tager, and we just wanted to create a place where writers could come and develop their ideas without a regard to limitations of form.

I consider my job as a screenwriter to pack a script with possibilities and ideas - to create a feast for the filmmaker to pick from.

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I've been sending him information and items that have been useful to the writing process.

I just feel like when a good project comes along, I'm not going to discriminate against it because it's television or because it's a film. I never want to say no to something just because of the area that it's in. If it's a good story or I think it's going to be exciting to play or exciting to be a part of, then I'm going to be a part of it.

When you're writing, it's all up to you, and you don't have to make any compromises. And when you're directing, there's this intense pleasure you get from working with all these really talented people, and pooling the efforts towards a common goal. I like all the aspects of film-making.

You hope and pray that you'll get involved with a director that you understand and who has the same sensibility as you do and knows how to push you and bring out the best in you.

As somebody who makes his living in the movie business and wants to contribute to it, I think that the best chance I have of doing that is just consistently working with great directors.

George has only got to ring me. His imagination is so wonderful, I'd do any character he might create.

Sometimes you do a film because the script is amazing, sometimes you do it because you get to work with amazing people, and sometimes you do a film because they pay you money.

I have the highest respect for stars and auteur directors. But I don't want to work with people who only invite me to the preview. We want to be in the collaborative movie business, not the financing one.

I'm most interested in working and learning from different people and telling good stories.

It's a great luxury to have the writer with you on a new play because you can write and re-write, just trying to get the arc of the story, of their relationship right.

I say yes to everything if I like the overall thing that's being put out there. I'll do anything with David Wain.