Laura Bailey Quotes

I really trust Susan Stroman. I really think she knows what she's doing. I really trust Andrew Lippa and John August. I think they have proven themselves over and over again and know what to do, and they have the big picture in mind.

There's no particular method or course of action that I take in order to decide who I'm going to work with besides feeling complete and total respect and admiration for that artist.

I really like working with people again and again, and I don't know why everyone doesn't do it. Because you already know them, and you know how good they are.

Working with Rajamouli and Karan is home ground for me now, having worked with them for such a long time.

That's one of the benefits of working on big budget films. You work with people who have a lot of experience and you get to learn a lot.

Some couples could not work together but we enjoy working on our projects and building our art business.

It's always a help when you have worked with someone as you've got to know them a bit already.

I hooked up with director Jacques Audiard for this film called 'Rust & Bone' with Marion Cotillard. I loved that experience so much I'm truly sad that it's over!

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

I have hardly ever worked with the same director twice. But when you have worked with a director before, you understand his behavior.

If you understand the importance of developing a relationship with the director and making that director see that you're the best technical adviser and resource in the world on your subject, you'll be invited on set as a respected and integral part of the process.

I'm interested in good collaborations and in working with directors who bring something new and interesting out of you.

You go through this business and you meet people that you bond with, and you get to go make movies with them. It's wonderful. What I've always dreamt of, in my career, is to have a brotherhood of collaborators, and go in and out of working with them. I'm just starting to get that, and it's really lovely.

That's one of the benefits of working with a smaller network like IFC. You're awarded more trust, but trust that I really earned.

You can't build any kind of organization if you're not going to surround yourself with people who have experience and skill base beyond your own.

I feel that the critic and music director should have such a good relationship they can pick up the phone and call each other any time.

Nothing reinforces a professional relationship more than enjoying success with someone.

I can't tell you how lucky I feel to be able to collaborate with some of my dream producers.

I can't have just anybody assisting me, I need somebody who I can really communicate with.

I'd work with Danny Boyle every day of the week. No matter what he was doing I would do that.

I have been blessed with working with the best in the business.

In the film business, when you're young, you just want to work. But when you're older, it has more to do with who's involved with the project - who you're going to get in the boat with.

I just enjoy working with really wonderful actors and amazing creative people and I hope to keep doing that, no matter where.

I like working with Kenneth Branagh.

I wanted to collaborate with someone, but it had to be someone I could work with and who wouldn't disrespect my past.