Sarah Gadon Quotes

I got a note from the stage manager one night that someone wanted to meet me. And it was Steven Spielberg.

Because of 'The Birds' and 'Marnie' I was, as the expression goes, hot in Hollywood and producers and directors wanted to hire me.

The business that people do in LA on the social level is amazing. You go to a restaurant, bump into this guy or that guy. The next day you get a call, and they want you in their movie.

When I came to Hollywood, I would take the opportunity to get to know George Stevens or Willy Wyler or Billy Wilder or Freddie Zinnemann. David Lean I got to know, of course, in London. And David Selznick and Darryl Zanuck, not to mention Jack Warner, and Sam Goldwyn was actually very, very nice to me.

If you work with a big director, access to stars becomes easier.

I work in the film business, where schmoozing is an art form, lunch hour lasts from 12:30 until 3, and every meeting takes an hour whether there's an hour's worth of business or not.

I think around that time I met David [Gordon Green] or, well, we all met at Superbad and Judd [Apatow] said, 'I'm thinking about having him direct [ Knocked Up].' Sounded like a good idea.

J. J. Abrams is a director that I've admired for a long time, from the very first scripts he wrote - including 'Regarding Henry,' which I was in.

I had a whole bunch of very successful movies. I have worked with some incredible people - incredible.

When Fargo came out, I hired a publicist for the first time in my life. I thought, if ever I was going to make it, that was then.

I knew Billy Wilder socially and would have loved to work with him.

I must say, to my great surprise and pleasure, I deeply loved making movies in the United States because of all the opportunities it gave me to work with people that I admire as artists.

I live in L.A., where every coffee shop is filled with scriptwriters, producers and directors.

I'm just glad I got to work with the likes of Spielberg.

I was so excited to work with Ridley Scott. Who wouldn't be?

Hollywood's like a warehouse. It's just a place that you go. What's interesting in the warehouse has to do with the creative people.

I don't think Hollywood was trying to do anything with me. In fact, they lost interest pretty quick. I think I got lucky, briefly, in the '90s, and it just so happened that those movies were the opportunities that came my way. Then it just kind of stopped.

Phillip Harrison was the production designer, though, I think he's uncredited. He's done most of my films like Blue Thunder. Lots and lots over the years.

I would love to work with Quentin Tarantino - he's my number one. My ultimate. I would love to work with Paul Thomas Anderson, Alexander Payne - Pedro Almodovar wouldn't be too shabby. There are so many good directors, but those are some of my favorites.

I've worked with Jack Warner and Jimmy Stewart - and Angelina Jolie, Brad Pitt, and Johnny Depp twice. I've had dinners with Fred Astaire and Cary Grant.

It's rare to have even half-meaningful conversations in the film industry.

I was a Valley girl; I hung out, and through a photographer friend. I met Peter Douglas, who was one of Kirk Douglas's kids. He introduced me to Sam Spiegel.

The greatest thing about having done 'Orange' are the doors that have opened for me, and people have been able to see me, like the executives and the casting directors - also, all of the fantastic directors and writers for independent films.

Well, I wasn't just kind of standing in a queue at McDonald's and someone sat down and said, 'You're the director of a $100 million Hollywood movie.' I've been working in commercials for ten years.

I enjoy living in L.A. This is where the work is - or at least generated from - because you fly off and do movies. It's sort of a great way to see the world.