A Quote by Isabel Coixet

I think I can work with different crews; I've worked with Bulgarian, Norwegian, Japanese, and Chinese crews. For me, the most important thing is the storytelling, and I'm really comfortable working with all kinds of languages.
We can bring crews in from other areas, too. If Monterey is hard hit and Bakersfield, for example, is not, we can bring crews in from there.
My parents got ahead in the news business with wits, guts, and a creative interpretation of 'fair game.' They leased their first helicopter in 1985, when KTLA news crews were on strike. Maybe the crews had good grievances, maybe not. Either way, my parents ignored the strike and went to work.
One thing that really interests me is-and it comes out of Chinese and Japanese painting-where you have a number of different kinds of space in the same painting. You have a kind of deep space, and then you have something like right up on the surface.
Encouraging people to believe in it was the most important thing of all. It's one of the reasons I was always uncomfortable whenever film crews came on the set to shoot things. I didn't want our make-believe to be exposed.
If you saw me working with construction crews or graphic designers, you'd see how much I'm really hoping for them to bring something to the table and let God in the room and let things happen naturally.
Their crew for 'Arrow' is just one of the most wonderful crews that I've worked with. I know that actors say that all the time, and it sounds like trash coming out of my own mouth, but it's so true.
I think the thing that allows me to go into so many markets is that I can speak all the languages. Korean, Chinese, English, whatever. Thank you, my parents, for teaching me all the languages.
I got to work with Eli Vargas. Great guy. Huge in Spain. He's a heartthrob there. Who else? Terry Crews - he was really funny.
One of the things that was really influential early on was Ezra Pound's Cantos, one poem he worked on for 50 years. It's epic. I had a great deal of difficulty understanding it. One of the problems was you'd be reading along in English and he would move to a Chinese ideogram or French-he actually used seven different languages in a given poem. And for somebody who's not fluent in different languages it has the impact of rupturing your way of understanding something.
I think for acting on stage and in film, one informs the other. Obviously, they require really different kinds of discipline and really different kinds of work. It's more along the same continuum, for me.
Most independent filmmakers in Britain and North America work for commercial crews and then have their own projects when they've got enough money saved up to do so.
There are moving companies specializing in evictions, their crews working all day, every weekday.
My first trip to Japan, in 1998, began with an enormous crowd of Japanese paparazzi and television crews, all waiting for me to clear customs in Tokyo (a first-time experience for this wine critic). Over the next five days, the attention never waned.
When I work, I work very hard. So I look to work with people who have that level of dedication. And I depend on that from everyone. From the director to my crews that I work with.
Not all my work features black actors. I mean, it's funny: someone was reading back to me all the languages that have appeared in my films, whether they were shorts or features. They span Arabic, French, Mandarin, Cantonese - all kinds of languages. I think it's really cool.
I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.
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