Paloma Faith Quotes

The thing about working with Peter Jackson is that, at the end of the day, he is a passionate artist.

I have the most respect for Rick. You're always going to see a Shameik Moore and Rick Famuyiwa film.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

What's great about making movies is the sort of additive process of bringing people together and having an idea and watching the idea be added to and at the end you have this thing.

I went to meet Joe Johnston, the director, and he's charming. I've been very lucky. Most of the directors I've worked with are charming. But Joe's a particularly charming man, and he showed me lots of designs and, rather memorably, welcomed me to the Marvel Universe.

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

Working with and collaborating with and for Peter Jackson was an incredible experience because he is such a phenomenal filmmaker.

A movie is like a city. There's, like, 150 people working, and it's all because of something that came out of your head.

I want to make my kind of films but make them work commercially, too. When my presentation meets the director's imagination, the result will be great.

Movies are a collective art. Art by proxy.

Film is not like a book; it's not a writer's baby at all. So many people have put in their talent, by that time that you feel grateful for what they've done, you don't feel possessive about it in any way.

I am no expert on tax; I'm a film producer. I read books and think about which ones would make good movies, and then I work with directors in order to make them.

Every movie has its uniqueness. You just do your best and go with it.

I will direct one day, but I have a feeling that it will be very limited.

Movies are collaborative, and that's part of what makes it a great experience. They're different from a lot of other art forms, but also it makes it seem like when you see the final product, you go, 'I wouldn't have done that. I wouldn't have done this.'

Working with Bernardo Bertolucci was one of the greatest highlights of my whole life. It was such an incredible opportunity for me.

Nobody ever starts out to make a mediocre, commercial film. You always think it's going to be something. And then, once you're done with your shooting, you have no control. You're just done, as an actor.

When I sign on for a project, I'm there to give the director all the material he or she might need to tell their story, and that's the number one priority.

I'm an artist, and I'm part of every decision in a movie.

Then, as now, the Disney studio buzzed with activity. You had a strong impression of being at the center of something very exciting.

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.

I love David Fincher - even though it was just two scenes, I loved the way we worked and could tell by the way he was shooting it that this was going to be an affective movie to say the least.

Any time Chris Nolan wants to call me for advice, he can.

I really want to work in a movie with Quentin Tarantino. I think he makes fantastic movies. I love people that create a different reality for the actors to live in.