Christina Ricci Quotes

Garry Marshall is a joy. I feel so utterly safe in his hands.

I really do like working very closely with a director and developing characters.

It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.

'Rent' was a special project for me. It was my first notable screenplay job. I worked with two wonderful directors on it, starting with Spike Lee in the summer of 2001. I wrote a draft for Spike and he was really good to me.

As a director, you try to find what is creative.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

In a way, editing is not unlike the movies. The best books, just like the best movies, are a collaboration. They're only as good as the compromise made between the artists involved.

And as I've gotten deeper into the process of making films and television and such, I think I have more trust in the fact that you really never know what you're going to find after the twenty-fifth take.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

It's not just about acting. I love film, I'm a director now, I love writing, I love producing, I love having a company that makes films and to be prolific and have a place to put all the ideas that are constantly bubbling up inside of me and that don't let me sleep at night.

What you do is get the right director and the right screenwriter and the right cast. It's a fantastic job.

I depend on good editors and a good director.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

I think I've had pretty good experiences for the most part with the people who have directed my screenplays.

One of the nice things about the world of filmmaking is that you make friends in the business. Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.

I've never read a screenplay in advance. You trust the artist.

It's much like writing a screenplay with someone else and that's how we view it, I think.

There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.

It's great to have a good relationship with the directors and learn about things you do with cameras, and how you direct.

I never argue with any director. When they say something will click, I believe them.

Working with directors like Gurinder Chadha was a learning experience for me.

As a director, when you embrace a project, you try to understand as much as you can about its world, and you do that by embracing and engaging with people who are in that world. Then it's down to your best instincts, which is what most directing is about anyway.

It's good to work with a writer-director.

Todd Haynes was incredible, he treated me like an adult, communicated with me, was supportive, he treated me as any director would an actor.

I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.