Rachel McAdams Quotes

I want to work with great directors and try not to put too much pressure on myself and just read things for the story and recognize when I'm drawn to something for the right reasons and try to maintain some sanity.

I've just always loved really good projects. The things that draw me into a new project have very little to do with genre and have more to do with the characters I'll be playing, the people I'll get to work with and things like that.

The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the language of the camera and of filmmaking, which gives him a great freedom.

I'll do any kind of movie, as long as it's a good version of it.

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.

One of the greatest things about 'Continuum' is how great the writing is; our writing room is one of the most talented ones I've ever had. It really helps me as far as character development because they paint a very descriptive picture of who the characters are while still letting us have freedom to put in our own ideas.

To me, writing is much freer than dancing. With writing, you could do it whenever you wanted. You didn't have to do little exercises and stay in shape. You could have great moments of inspiration that advanced the story. In dance, unless you're going to choreograph things yourself, you're at the service of someone else.

You pick projects for the part, the director, and the script. I just want to do different, interesting stuff.

I do have comfort, because as an actor you don't want that anxiety of wondering if you're going to continue with a certain role or if you're going to be employed the next year. It's nice to be comfortable with that and then you can concern yourself with the stories and nothing else. There's no other agenda than putting out a good product.

For me now, it's about what you would write and what you wouldn't write, and that's how I select what I am going to do. It can be quite nice being brought a concept by a studio for me to work on.

I don't have any great detail or logic or exact point that I look for in a film. It's just if I get a good sense from it and I feel that there is something interesting that we may be able to do with it, then I just kind of go for it.

My private life is perfect. If your private life and your life outside football is good, then it is good on the field for you.

To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.

To be completely honest, I just like whatever tells a good story. Put me in whatever setting, scenario, genre. If you're telling a good story, it's great and it's fun to get caught up in.

I don't look at scripts in terms of commerciality. I just look at the part, the people involved.

I'm quite private. And I never wanted to be the biggest star in the world, really. So in that sense I've got a good balance of doing great shows, of making an appearance every now and then and writing music, and I don't really have to do much else.

I believe as musicians and artists we have an obligation to our souls. What that is? Only each one of us knows. I can speak for myself and say my obligation is to be happy. When I'm happy, I make great music. When I'm unhappy and my heart is broken, I may make brokenhearted music, but it still sounds good.

I think it's always good for the author to stay a good cattle prod's distance from the actual moviemaking.

I will always listen to my coaches. But first I listen to my body. If what they tell me suits my body, great. If my body doesn't feel good with what they say, then always my body comes first.

My goal isn't so much genre, or fact-based or not fact-based. I just want to work on projects that I think could be great.

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 I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next.

Obviously, I'm very happy when one of my films becomes a blockbuster. However, after a point, I want to switch off. I have learnt to just move on. Too much pressure can make you wrong.

I wouldn't say I'm personally trying to transition from comedy into drama. I don't look at things like, 'Oh, I need to do a drama now.' I get a lot of material sent to me, and if I feel like something has the creative integrity and the right director and the right whoever involved, the right actors and is a great story, then I do it.

Sometimes you read a script, and you just think, 'Wow, I would love to go and tell that story, and I don't even care what happens to the film, I would just love that experience.' And often, that mentality makes a great film.