Deborah Kara Unger Quotes

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.

Movies are the work of a collective conscious. It takes 500-800 people on a movie to complete a vision.

It's amazing to be able to work with people right at the top of whatever they do... inspiring photographers and stylists with very interesting visual language. The more I do it, the more I enjoy it.

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

I was India's youngest producer. I was 21 when I produced my first film. I've continued to produce films because of the people who have worked with me and supported me.

If I can do quality work with wonderful writers and directors and producers... that's the cherry on top.

I like working with writer-directors because you can solve problems right there.

Filmmakers are always in a bubble; along with our crew or writer, we don't really get to socialize with other filmmakers, so the great thing about Sundance is you can see many other filmmakers doing the same thing you do.

You don't always just have to do an indie movie to feel like you're controlling it with a few people that you really have connected with, creatively. You can do it on a bigger scale.

I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.

To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.

You can never tell when an artist really will take up someone's work and work with it happily.

My favorite thing about this business is you're just jammed in a room on a set with like-minded people - writers, directors, and art designers and hairdressers. People who didn't work a 9-to-5 but chose this life. You're going to like at least two or three people in that you love these people so much.

Films are not mathematics - that's the first thing you need to understand. At least, that's how I feel. They are not words on paper. Films are made with people, with teams and with individual bundles of creativity coming together to fulfill the vision of an individual who is the director of the film.

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 don't know if it'd be any time soon but I'd really like to work on a collaboration with somebody - I always have ideas for stuff like that.

The rehearsal process is the most important thing to me, so working with colleagues who are effusive, thoughtful, young and vivacious is really inspiring as a musician.

I'd say that the director I had most involvement with was Alex Rockwell in 'In the Soup'. It was one of my earliest leading roles, and he gave me a lot of responsibility as an actor.

Filmmaking is such a collaborative piece of art that you can't look to one person - you couldn't look to me, you couldn't say, 'Because Vin's in it, it's this or that...' It's really all of us coming together for that period of time to try and make magic.

I only want to work with interesting filmmakers.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

I actually like the collaboration of working with different artists.

For the last 20 years of my life, I've had the mantra to do amazing parts with amazing people in amazing projects, so I'm attracted to good story, writing and character and good people. That's what I'm always searching for and I don't think that's ever going to change.

I was lucky that audiences in Mexico liked my work. I was even luckier when I got to do movies and plays with my brothers.

I always prefer shooting on locations, because when I'm at home, it's harder to sort of get lost in the world of whatever you're making. It does, it does force this bond and community amongst a group.