Sarah Sutton Quotes

I know that sometimes the chemistry just isn't there between the model, photographer, hair and make-up. It's nobody's fault and you just have to do better next time.

I always have a ping-pong table in the studio. If you're with an artist and you notice the situation is going south a little bit, it's like, 'You wanna play ping-pong or foosball?' Or, 'You wanna go grab somethin' to eat?' And then you just like talk to them and relax them and get them comfortable and get yourself comfortable.

I wasn't letting people in with the music writing process, and for a long time, I thought I was hard to work with.

My approach with actors is to try and give them whatever it is they need from me. Direction to me is about listening and responding and realizing how much they need to know from me and how much they have figured out for themselves, really.

Making movies was a real weird kind of adult experience. In a way it was like MIT, in that it was a great education. The big lesson is, people are people. They're smart, funny, creative people, but they're people.

There's something really nice about not sitting separate from the crew in some massive trailer away from the studio. To actually be there with them, it's more of a creative process.

Fashion is much more collaborative than one might think. You have to have an idea and vision, and you have to communicate that vision to a team of people, and you have to create an environment that allows those people to give the best that they can give.

You know, it takes a while to get used to - it's a whole group of people with all these ideas and after you sort of navigate your way through the first few episodes it becomes collaborative and creative.

Tim and Fritz Lang I loved working with. Not Hitchcock so much. There was no communication.

On my set, people have to respect the actor's process. I totally respect what actors do. I give them whatever time they need, and I never scream out directions from the camera. I take the time to walk up to them and talk to them personally.

Most directors that I've worked with - I've worked with before, especially in Holland - and they know that I'm somebody who talks and asks, and talks, and talks, and talks and questions and turns things around. I'm like a little cat, walking around my little nest until I find my place.

The first work of the director is to set a mood so that the actor's work can take place, so that the actor can create. And in order to do that, you have to communicate, communicate with the actors. And direction is about communication on all levels.

Before I ever put anything on paper, Jerry and I would talk back and forth.

When actors give their input, it can be very ego-driven, and directors are scared of that.

I don't even know what a traditional producer is or does. I feel like the job is like being a coach, building good work habits and building trust. You want to get to a point where you can say anything and talk about anything. There needs to be a real connection.

I believe the better I can write on my own, the better I can be of service in a co-write. The big thing with a co-write is trust, and it's not so much what you get the first time you sit down with that writer. It's the relationship that you build that you're in. So you can trust throwing out all your ideas and how strong you think they might be.

You shoot yourself in the foot when you think, 'We have to get a good scary movie director to do a script by another scary movie writer.'

When you work with someone you don't quite know, you have to figure the director out, and you can come up with ideas that are counter-productive.

I was very intimidated by the visual effects world. But I began to realize that you don't have to know everything. You have to be able to talk about story.

You can see how different artists work, from writing to recording, just from being in the studio environment with them.

There's a kind of telepathy that goes on with the photographer and model.

Having a connection and chemistry with a director is really key.

There are certain directors who will start talking to you about something, and suddenly you'll be ready to roll, and you'll realize it was very specific.

I have very talented art directors in my agency who start out telling me, 'Well, this is what the picture is... ' I ask, 'Well, what's the headline?' and they say, 'We haven't done that yet, but it looks this way.' But I'm still writing copy, almost every day.

There's a constant dialogue going back and forth between the filmmakers and the producers.