Jeanne Tripplehorn Quotes

Theatre people, who are an adaptive species, know that to remain sane in the process of production where everyone and his uncle has an opinion about how to fix a show, you must pick the people whose knowledge and taste you trust and stick only to these few. The Tweetocracy is no place to look.

The concept of making a movie in which the director dictates is kind of exotic - and absolutely not truthful. Directing means allowing a great deal of collaboration and listening and having the ability to change your mind.

I wanted to be open. On the last project, "Affection," I co-wrote everything. Sometimes, I think, it's smart to step away and be open.

When you're working with movie stars, part of the deal is that, if they have something to say, you'd better listen. You don't have to absolutely listen and not talk, but there is another creative force at work, and to be successful working with movie stars, you have to bring that force to work for you. You have to find something that's comfortable for them, and at the same time, that's in the parameters of what you're trying to do yourself.

I always loved doing a movie with Daldry. That's always a huge factor for me.

As a writer, you're really in control of almost everything. That's not the case in TV. You have to be prepared to work with a lot of people to make something happen, and you got to be prepared, at least in the beginning, to not be too good at your specific task.

It was a challenge, to work with Oliver Stone.

You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.

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

The writer creates the role on the page and then the actor takes it and makes it their own.

I've created, directed and choreographed for Lady Gaga since the beginning, so 'Born This Way,' this was musically such an amazing evolution and such a brilliant record. So when she played it for me, it took me a while to find out the visual interpretation that I could give back to her.

I've had wonderful collaborators. They're very different, just as actors are. Working on a show with Nathan Lane is different from working on a show with Chita Rivera. It keeps you on your toes because it's different every time.

I like big casts. The experience of working together, that human contact - those are my roots, professionally.

Actors aren't stupid, mostly, and if there's a sensibility and an aesthetic that a director's going for, if you're aware of that too, you can do things to help that.

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.

You can be playing a line some way and the director wants you to change that, or you can disagree. But I always think that the creative conversation between director and actor is what leads to good work.

Good actors, especially when they know their character, will come in and either tell you in advance that they have an idea, or in the middle of the rehearsal or the scene they'll let it loose and you go, 'Ah that's great.'

One of the things about working on stage - actually, about working in show business, that is - is that it's such a collaborative effort. I suppose that everything in life is - every endeavor where people are able to be successful.

What goes on between the actor and director is sacred.

Any part I do is a marriage of the words - what the playwright or producer or show runner's vision is - to how I would play it. It took me a while to get rid of 'Oh, they want it this way, so I'm going to do it how they want it.'

I feel like I'm a secondary artist, a kind of a conduit for the writer, and if it's a good writer, then I have a great road map.

The director is a bit analogous to the conductor of a symphony orchestra. It's a collaborative adventure.

In every shoot, between the actor and the director there is manipulation. I'm not saying that negatively. It's healthy.

I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sure.

I tend to arrive in the rehearsal process with very strongly developed ideas about what I want to do. But I don't like those ideas to be things that are not subject to change, or subject to development, or subject to challenge.