Bel Powley Quotes

Probably 90 percent of the stuff I make has inevitably been done before... Whether it's playing Hamlet, which has been on the go for 400 years, or pieces from the cinematic world that also have been essayed before, I feel released by that.

I can't imagine directing from someone else's script.

Knowing what you're up against is part of the strength of writing something that is even, I guess, considered halfway original, knowing what's out there to begin with.

I've gotten to a point where I wouldn't direct someone else's material. It would only be something totally original.

It's one of those jobs where you go, 'Oh no, I've got to play Alfred Hitchcock. I have to play him even though I know what this is going to involve.'

Whatever is about you that is translated into your art, that's gonna keep you completly original and fresh and I just think that, that's just the best advice I can give, to an artist creatively.

I think that's why often people in creative fields can feel so alone is because there's a constant third eye, that constant watcher.

I just want to make my music, and I want it to stand on its own.

A lot of the time I hate the theater. You think, 'I have to climb Mount Everest, again, tonight.' Oh, the theater is a scary place to be.

Every time I start a film I feel like I'm starting the first time, ever.

Always be original. Never duplicate what you've seen another actor do. Be true to the character that you've been given, and the rest will come easy.

Early in my career, I decided not to do sequels. I know that children enjoy them, but I valued the feeling that this was the only time I would write about these characters. I felt it gave me an added incentive to do my best by them, to tell readers everything I knew, to hold nothing back.

The reason is that for many years I have avoided reading anything whatsoever that approaches my own line of country, out of a somewhat fanatical desire to avoid the risk of unconscious imitation.

I don't like playing standards. I like to do my own cutting edge work.

I pointedly avoid doing sequels, since for the most part I find that a sequel rarely stands up to the original.

But I'm not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.

When you're confined to a TV series, and you have to play one character, it can make you insane. But it didn't affect me. I got out in time.

To direct a sequel to somebody else's work is not interesting to me.

I don't want to get caught up and be an artist always on the go. Because once you do that, it's hard to get into the studio and do what I do.

I always like to get a role where I think, 'Ah, I know this is probably going to be played like this, but I'm going to do it like this.'

A big part of me would be very proud never having anything of mine adapted, because if you want the real experience, there's only one way to get it. You're going to actually have to be a reader.

If you go for the money first and try to think of what other people want to see, you change your original inspiration and perhaps put out something that's less original and less personal and maybe less satisfying.

And I don't want people to think that I make movies based on other films.

Denzel had made it apparent that he wanted me to bring my own interpretation of 'Cory'. I was definitely aware of Courtney B. Vance's performance in the original production, as well as that of Chris Chalk, who performed the role onstage with my cast back in 2010.

I don't like post-modernism. It's cynical, and takes no discipline - you just copy. It doesn't allow a film to be open to reality.