Gil Gerard Quotes

Hollywood is a special place; a place filled with creative geniuses - actors, screenwriters, directors, sound engineers, computer graphics specialists, lighting experts and so on. Working together, great art happens. But in the end, all artists depend on diverse audiences who can enjoy, be inspired by and support their work.

I will admit, it's so intoxicating working with Steve Carrell. Creatively and professionally.

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.

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

When I work with Future, it's almost like a work of art.

For the last 10 years, I've been working with Donald Glover and Ryan Coogler, and we've put down so much time really trying to make the best that we can, whether it's a movie, a film score, or a song.

I just love working with actors, and I love working with writers, working with designers.

So I'm happiest when I'm working with artists and writers, and involved in stories, whether we're talking about animation or movies or comics or television.

I have a strong and strange character, and I've rarely met directors who knew what to do with this character. One of the few who did was my father, and in the theatre, Arthur Nauzyciel.

I have worked with some very great directors.

What goes on between the actor and director is sacred.

I want to go wherever there's great work. I'm a huge fan of film primarily. But you can get a great TV show and get attached to it. Making a great film is forever, though, so I always want to be part of film. It's my first love.

I became producer so that I could work with persons like him and to rock the world of Hong Kong Cinema a bit.

It's a product of two poles - there's the pole of the one who makes the work, and the pole of the one who looks at it. I give the latter as much importance as the one who makes it.

As far as an actor-director connection, I think those can develop, and when they do, they're really great, and you just cultivate it like you would any relationship or friendship. If you find that something special, it helps down the line when you want to do more projects with each other.

I work in a medium where I get to be totally invisible and I get great pleasure from that, being a pretty self-conscious person.

I remember those days with Bergman with great nostalgia. We were aware that the films were going to be quite important, and the work felt meaningful.

I'd like to work with David Lynch again.

The great thing about movies is that they're collaborative. And the worst thing is that they're collaborative.

Working with Stephen Sprouse was always one of my very favorite things. I was always a fan of his.

The last time I was in a Marshals' office, they had a poster of 'Justified' up. I asked them, 'Did you know I was coming by, so you put up a poster of the show?' And they said, 'Oh, we all love it... you guys make us look good.' I thought, this is great. If they like it, we really did something here.

I like to work with artists from around the world. There are so many new inspiring filmmakers.

I kind of feel like the job of actors and writers and people who make television and movies is to keep people company. In whatever modest way I'm able to accomplish that, I want to.

If you understand each other's way of thinking, you understand what kind of film someone is trying to make, and all the ideas that I come up with will fit into that film.

I directed Bebe Neuwirth in 'Here Lies Jenny' at the Post Street Theatre. I was gobsmacked - the audiences were extremely knowledgeable, affectionate, interested, and not cynical.