A Quote by Diane Kruger
I don't have to work just to work anymore. More interesting parts come my way, so I can afford to say, 'I don't want to make that.'
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I don't enjoy the work that I do. It's just that it's not self-sustaining anymore. The way that I like to make records - they're expensive records to make and just can't afford to do it anymore.
I would fail if I had to work with stars. And I also can't afford to work that way. I can't afford to have special circumstances for rarified individuals. So, I work with actors who have given me a sign that they're willing to work in these more humble circumstances, in real-life locations.
I come from the mind-set that, if you want it to work, it will work, whether it's a friendship or a relationship. If you're both in the same mind-set and you want to be together and you want to make it work, you can make it work. It just takes dedication and knowing that there might be some miscommunication and lack of communication sometimes.
And I think a good writer's gonna make it interesting. From the first paragraph it will all be interesting. Just work at it and work at it and work at it.
It would be nice if everybody who had something interesting to say about my work could say it politely and civilly, but it doesn't work that way... Sometimes people are just really nasty.
I don't think I want to play title roles. I don't want to be the face on the poster. I don't want that pressure of having the success riding on my shoulders. I just want to play the most interesting parts. I actually think it's incredibly rare to get an interesting female character that is the lead in a film. Usually the character parts are so much more interesting to play.
Millennials want to find meaning in their work, and they want to make a difference. They want to be listened to. They want you to understand that they fuse life and work. They want to have a say about how they do their work. They want to be rewarded. They want to be recognized. They want a good relationship with their boss. They want to learn. But most of all, they want to succeed. They want to have fun!
It is interesting because even if you are great, and phenomenal, and talented, if you aren't easy to work with, no one is going to want to work with you. That's just the way it is.
I think, always, with a new book, I get nervous. I think mostly it is because work is really important to me, and a book doing well is important because it buys you another one. Not because of the money but if you keep doing interesting work, work that people like, they will want you to do more, and offers that are interesting come in.
To me the work is so much more interesting, the parts that don't require you just to take your shirt off.
I only want to work with actors that really get it and make it work. I didn't want it to be a star-driven thing anymore.
I want to work on interesting parts that I can believe in.
I want to keep doing interesting work with interesting people in whatever form that may take, but I want to play the big parts of classical theatre; I want to go on stage and play great Shakespearean roles and, at the same time, do amazing, challenging indie films and comedy, and I want to do it all. I am greedy.
Personally, I've always felt that I've enjoyed my work. But there have been times where I've have waited for interesting work to come my way.
I can work a lot faster when I'm writing a screenplay than when I'm writing a play because, if I'm having a problem with a scene or something, I can just be writing it in a way where there's no dialogue, or find a way to make sound do the work that I want to do or a close-up do the work that I need to do.
It's a lot to do with the Marvel ecosystem. It's different from the traditional studio system. Because it is, for how absurdly, incredibly successful they are, it is a family. It is a loving family. It is a group of people who only care about making things good. They don't choose directors who don't want to work with them in the way that they work. And the directors that they choose are better for having done it. Every director who comes out of that system are one kind when they come in, another when they come out. And they usually come back for more. They usually make more than one.
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