Creative Choice Quotes

I always had a feeling, for example, that there should be something from Verdi's "Requiem" in the film. You hear it when you see the lava flow in Iceland. That turned out to be a very easy choice.

I will do films in any of the languages, provided the script is good. The region and the language don't matter.

What I don't write is as important as what I write.

An artist must be free to choose what he does, certainly, but he must also never be afraid to do what he might choose.

The only reason I ever do an independent film is that I believe in it, and I think it has something special to offer. I'm certainly not doing it to be a millionaire.

Every movie I've done, it's always the same criteria: finding a great story, and finding a great part to play.

I don't want to create any particular kind of image; I just want to do different types of films.

I want to take up anything that excites me. It can be a drama, action or a comedy.

Design is nothing if not decision making.

Most of screenplay writing is deciding which voices you want to listen to and take on board.

For me, it's first about the characters. I look for a character who is intriguing and challenging and different from what I've done before.

I was in a very lucky position to be able to consider studio films and had decided to not go that route for a very long time until I read a script that I loved called 'Aeon Flux.'

I pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.

Publishing, legacy or indie, is a vehicle, and you can't opine about whether someone has chosen the right vehicle if you don't know where she intends to drive it.

Hollywood's a big place, and they make all sorts of different movies. Some movies I'm attracted to; a lot of the movies I'm not. But there are some terrifically talented people over there that I'd love to work with.

I've just simply used what I've used because of the great, great expressive potential of it.

Sometimes I make films about scenes other filmmakers would leave out, so I just make the film out of all the things they wouldn't put in. Poetry allows you to do this more than prose, for example.

I don't want to choose between commercial and independent cinema. I just want to choose between a good film and a bad film.

The way to activate the seeds of your creation is by making choices about the results you want to create. When you make a choice, you activate vast human energies and resources, which otherwise go untapped.

For good or bad, there is a certain level of generalisation when it comes to my work. I want to break that perception. My decision to direct 'Bombay Talkies' or to present 'The Lunchbox' is an attempt to do that. These are the films that gel well with my sensibility, and it's unfortunate, it's not the perception out there.

When I'm choosing projects to be a part of it's always a combination of so many different things. The primary thing is the director. But a very important element is, is it different enough from anything else I've ever done, or what I've last done.

As an actress I take roles I find interesting.

Design is a very personal thing. It's like art. Your personal choice plays a big role.

I wanted to be an artist; it was be an artist or be an actor.

I do a film if it interests me, has a connect with the audience and some entertainment value. The rest doesn't matter.