Kriti Sanon Quotes

I think there's actually a benefit to working with teen actors: they've got such boundless energy, and everybody is willing to try different things.

Mike Schur knows exactly what everything should look like but, at the same time, is super collaborative and loves working with actors that make choices and bring stuff to the table.

Ashwini Chowdhary is a very sensitive director. I could give myself 100 per cent to him.

David was the kind of guy who was totally supportive of the actors and instructed the writing staff to trust the actor's instincts, since after all, it's the actors playing the character.

No director wants to be directed, but no good director... would shy away from the good ideas of others.

Once the amateur's naive approach and humble willingness to learn fades away, the creative spirit of good photography dies with it. Every professional should remain always in his heart an amateur.

There's something I really love about independent filmmaking. Everyone is a little bit more close-knit, and you rely on people a little bit more. The bigger the budget gets, the more everyone toes the line in their department.

I just love to collaborate with people who take my ideas real serious, and they don't put up walls around them.

The most important thing when you do a movie is that you find an audience that really understands what you want to do and is really supportive of it.

Why hire these geniuses if they're forced to stick with the script? You want to empower your actors as collaborators.

When you go into projects, you can't look at it as limited; you have to dive into it wholeheartedly to be true to the writer's vision.

I like to give my actors a lot of room.

When you're making music, it's meant to be shared with people. Sometimes, even if I'm writing a song, someone else brings a vibe. There's something different about it. If someone can play a better bassline than me, I'll let them do it. I'm just here to fit in and see where it goes.

The great thing about 'Justified' is that the writers will craft a scene, but if the actors come up with a great idea, they're 100% for it.

I worked with Steven Spielberg on Amistad... he seemed so very secure in himself that he let me do things.

I'm someone who has always been quite clear about what I like. In the studio, I'm not a control freak but I know what I want.

Anytime I get the chance to sing or work with Michael John, it is such an incredibly fertile and incredibly creative and safe and encouraging environment - and challenging, too, because he is so collaborative!

I wouldn't object to working with any former member of Yes, really.

Studios never put pressure. They know the kind of films I want to make.

I wouldn't say I'm a very controlling person. For instance, when I talk to the actors, I don't tell them exactly what I want because I want them to surprise me. I even encourage them to change some of the verses of the script if they need to.

I can have a song with Ariana Grande that is going to be the song for all the kids and the teen girls, and then another song that could be for a different group of people who all love the song. I'm with whoever. Whatever type of people want to love the music and whatever they love about the music is fine with me.

As an actor, you want a director who makes you feel comfortable in a place that you can really create and try a lot of different things.

I've been so lucky - I worked with Jason Reitman twice, who has always been a really strong advocate for my voice, and has always really respected the scripts that I've brought him and is just the coolest.

Every director's so different. Everybody has their own modus operandi and I love getting to know different directors in the way they work. David O. Russell is very exciting to be with because he's got a mind like quicksilver.

I've worked with some of the greatest filmmakers in the history of the medium, and they all have something in common: a quality that is creative, comfortable, and thoughtful.