A Quote by Alexa Vega

I love working with Darren Lynn Bousman. He is such a cool director with really great ideas. — © Alexa Vega
I love working with Darren Lynn Bousman. He is such a cool director with really great ideas.
It's cool for me because I'm a director, but I'm also a teacher. I'm a lover of cinema, and I love working with people who are hungry and have the energy to really do better work.
Mel is a great director because he's not just a director, he's an actor, so he knows how to direct actors. I loved working with him. He's great as a director. He's so intelligent. He's generous. I really loved him.
I'm not a feminist, but I just think it's a really cool process working with a woman as a director.
I really, really love what I do, and there's nothing I love more than getting on stage and playing for an audience or working on a part, getting in front of the camera, and meeting all the cool people I get to meet, and going all the cool places I get to go.
The Jawbreaker writer-director Darren Stein was a huge fan of Carrie and Halloween. He was like a kid. He was 26, so he was such a fan. He wanted William Katt and I, from Carrie, to be in the movie as the parents. We had a little bit more that ended up on the cutting-room floor, but that was kind of fun. Everybody that worked on that movie was really cool, including the girls, especially the new girl, the blonde, Judy Greer.
I love working with Scorsese. He's not only a brilliant director and is great working with actors, but he's also a walking human film encyclopedia. It's fun to talk about movies with him.
I'd love to direct, and I think I'd be a great director, but... I've been approved by the studio to direct, which I think is a cool jump of faith for them. Or proof that they're really stupid. But I don't think so.
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.
Working with people you adore and love. There's just a sense, all the way through all of the movies [Planet of Apes], that you're very rarely in a position where you have great material that you're passionate about and a big audience who love it, and the detail and nuance, and the exquisiteness of the fantastic actors and director with great writing.
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
In today's world, having money has allowed people who are extremely uncool to think that they're cool and carry it like that. People who really are cool and people who really are artists and have ideas have to literally turn in their cool card to society just to make it past the age of 28.
When you're a director, you have great respect for directors. I am really pretty loyal to any director that I am working for and I want to help them realize whatever story and mood and tone that they're trying to realize. As an actor, you really just are a cog - you are an important cog, but you are just a piece of the machine.
We [Elbow] have had some luck with media syncs in film and on TV. We'd love to do a soundtrack with a really cool director.
It's really cool when the thing you are working on as a small team gets embraced by millions, but in the end, it's about your character and the script and your director and the rest of the cast and crew.
I don't have an interest in being a director-for-hire on sitcoms - but if it's a really cool show that I thought I could bring something to, I would love to do that.
The cool thing about G.O.O.D. Music is it's a bunch of great ideas, and I'm one of those ideas.
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