Felicity Jones Quotes

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

I'm learning more and more to share creativity with the crew and actors. A film crew is more powerful if you listen to them, but it does make my job more tough because I have to listen.

Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.

You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.

Before I ever put anything on paper, Jerry and I would talk back and forth.

We would write scripts, like for 'Shutterbugs.' Then when we shot it, everyone just came up with new stuff. We've definitely learned how to do it better as we've gotten along. So basically, that's how it went. We just go in with ideas and try to figure out funny stuff while we're there.

I've written with people who aren't like me, then I've written with people who totally get it. It's like a blind date, and you never know what's going to happen. But it's really cool because they learn from you, and you learn a little bit from them. And sometimes it works out, and sometimes it doesn't.

Being able to chuck ideas around and bounce ideas off each other with anyone I'm working with is just something I love to do, that's how most of these ideas are formed.

Filmmaking is hard enough as it is. If you can find a group you love working with, it makes it just a little bit easier.

If you really want to step up your team's creative thinking, take a hard look at how many people you're putting in a room together. More than three to five is probably too many.

There is always a collaboration between the director and the actors, and you always have to listen as the actors have to listen to you as a director. In the end, you as a director, of course, are the captain on the ship.

It's interesting to see what people who you find talented come up with, so you work with them. Sometimes ideas come along quicker cause they'll come up with something and you'll be like, "It would have taken me forever to get to that point!" Because you're talking together, your brains are moving faster.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

Most filmmaking is about shaking hands and just starting.

If the auto plants in Detroit would just sit around the table and say, 'What do we gotta do to make this thing work?' Instead of, 'I want this and I want that.' They might make it.

When I'm a part of someone else's creative process, it's all about facilitating their ideas and hopefully bringing their perspective and making it a part of a song.

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.

Sometimes two artists wanna work together, but it doesn't mean it's gonna happen, because you have to find the right idea.

When you're working on a creative thing, everyone has an idea, and they're pushing it. The first time you work with anybody, you have to get comfortable with the way another person pushes hard for what they want.

The only thing we don't do together is get in front of an actor and show any indecision at all about what we think. We don't always agree, so we meet privately, then one or the other will approach the actor.

I really challenge every actor at the beginning of a process, and I always say, 'I have an idea that I'm going to bring to the table. I hope and expect that you will have an idea and bring it to the table. But the way I really want to work is that together we're going to have a third idea that is better than either of our ideas.'

I'd worked with directors who wouldn't collaborate. Then I've also worked with directors who didn't really know what they wanted. I knew I didn't want to be either one of those guys - or girls.

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.

People think if you're a movie star, you're the boss. But first of all, I'm not a movie star, I'm in a very different place. I'm not looking to do what I want - I am looking for what we can find. It's a creative process.

My job is to come up with something that you like and you agree with that you would play wholeheartedly. If we disagree, I may not be doing my job correctly.