Gwyneth Paltrow Quotes

I haven't been a director-for-hire for any project. I work with people who appreciate that, understand that, and want to work that way.

I like working with writer-directors because you can solve problems right there.

You don't always just have to do an indie movie to feel like you're controlling it with a few people that you really have connected with, creatively. You can do it on a bigger scale.

I suppose directing on set is the most fun because it's a good crack and you feel you're on the battlefield whereas writing is a fairly solitary undertaking.

We took up the offer with the BBC, and that was Monty Python's Flying Circus. I didn't have to submit my ideas to the group. I used to turn up on the days we recorded with a can of film under my arm, and in it went.

Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

I feel like everyone directs their own career according to their taste, what they migrate to emotionally and what kind of artists they want to work with. And I'm lucky enough to be in a position where I can wait six months for a project that really interests me.

I love it when a photographer lets me create my own movement and feeling to the images. By that I mean he doesn't restrict me in his or her own ideas but rather gives me a direction and lets me work within those boundaries freely.

The studio is meant to be always a place where, first of all, they can be out of spotlight, and second, where they could work with a peer group on parts that they might not have played otherwise.

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 have no directing ambition whatsoever. And as long as I meet filmmakers like Tom Hooper, Stephen Frears, and others who allow that collaboration, I can't see why I would ever want to direct.

I'm always trying to find something unique or a project that I can do something unique in. When the director has a vision for a piece that I've never heard before, and they can back that up with visuals and they talk a good game, I get really interested in the world that they're trying to create.

I like working in any medium. Who's making it? How much do I like the story? Does it contribute something?

I think when you're working with a character that another writer is acting as - for lack of a better word - custodian of, your obligation as a professional is to not do anything that violates that 'primary' take.

I think on 'ER,' my other long-running show, I had some ideas about what's going on. 'Stargate Universe,' they were kind of secretive too a little bit about what they wanted to do, but I kind of liked working this way. I like the surprises, and I like knowing just enough to work on the character.

I think if you speak to any creative person, there's something so powerful - so intoxicating, if you will - about discovering another voice, another instrument, another way of looking at things, another way of perceiving things.

After 'A Separation,' I found it much easier to work in Iran because I worked with very enthusiastic people who were very involved in the work, and that facilitated a number of things. It made it possible to iron out some of the difficulties found by other filmmakers in Iran.

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 think it's rare for anyone that a really accomplished, amazing director calls you up and says, 'I want to make a movie around you, and I want it to be this.'

I truly believe that cinema is a collaborative effort, and as long as I get to tell, and be part of, interesting stories and work with genuine people, I don't see any project as a 'risk.'

Nothing's ever easy about composing for other people's projects, but I like it. I've been lucky to have worked with adventurous directors who trust me.

For me, always, the big inspiration really comes from talking with my creators, my showrunners and my producers, and seeing what is their vision for their project.

What I love about working with Diplo is that it feels very free and fluid - we can work on a song apart from each other or in the studio, and it's always, 'Let's brainstorm, here are new ideas.' I like that kind of workflow, where it's constantly moving.

I am open to working with new directors as long as the script excites me.