Pamela Adlon Quotes

That's what it is every time you walk into the room to write with someone new. It's like, oh god I have to take my clothes off 'my creative clothes' and let them see all of my flaws.

I think the movie business, you meet people, and you work intensely with them, and you have these relationships - there's an intimacy to it and a familiarity to the relationship because you're having to let go of all your barriers so you can let people in and work with them.

What I learned from my go-round with 'In the Heights' is that it's tough to make a movie. In Hollywood, even the people in charge have people in charge.

You're reluctant to give too much away when you're going to put it out there for other people. It's harder writing your truest fears and loves and guilts, because you're not sure when you're writing the right story.

I'm a very private person. I find it very daunting to have to give private parts of myself away to people, you know?

I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.

Most writers like to maintain some sort of anonymity. For me, making videos was an assault.

I don't think even when you find a person, you can be completely honest, ever. There's still pieces of you that you don't give away. I do believe you always need that place where it's just you, your thoughts, no one else's judgment or anything.

To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.

When you start putting too much thought into it, the music starts getting too revealing. You don't need to know all my inner thoughts.

If you're gonna fall apart, do it in your own bedroom.

A film actor is just a victim of directors and editors.

I realized the exciting place was behind the camera with the producer, director and so on.

When I was very young, I used to share much of what I wrote with my family, but as I got older and more self-conscious, it became a much more private process.

Anytime you work with materials that are deep parts of yourself, you feel revulsion at showing things about yourself that you don't want people to know.

Somebody described it to me the best as when you go in to write a song with two people that you've never met, you're pretty much going in and taking off your pants in front of strangers, so it's a really weird feeling.

When I'm making a song that's very Grimes, it just feels very insular and it feels weird to have someone else do something on it.

I think I'm writing for an intelligent stranger - you know, in my mind I can't remember who coined that phrase first. I don't want to write anything that makes me cringe, first of all. I cringe a lot - mostly when I hear popular music.

I feel constricted if I become too much aware of the act of making. Liberty is lost and instead of an instinctual lyrical expression the whole thing becomes arid.

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

I'm a secretive bastard. I would never let anybody watch me painting... it would be like somebody watching you have sex - painting is that personal to me.

I don't like to discuss my work in a lot of detail; I'm afraid of dissecting it in a way that is not good for me.

I never record in front of anybody.

'Before I Ever Met You' was the first one to come out and that just dives into the grit, and it's pretty graphic about a relationship. For my first song, it was very special the way it happened, because I didn't really hold anything back, and people responded to it.

The truth is, we were sick of, every time we finished a movie, having to start all over again from nothing, going to a studio, pitching an idea, setting up a new office.