A Quote by Izabella Scorupco

I have no idea what makes a director believe in me that I can sell these kind of roles. — © Izabella Scorupco
I have no idea what makes a director believe in me that I can sell these kind of roles.
I sell ideas. Actually, if you think about it, everything is really no more than idea. The past is nothing more than a memory, which is one kind of idea. The future is still a hope, another kind of idea. The present is fleeting and becomes a memory before you can put your hands on it. All ideas. I sell ideas.
I don't believe in god. I don't believe in an afterlife. I don't believe in soul. I don't believe in anything. I think it's totally right for people to have their own beliefs if it makes them happy, but to me it's a pretty preposterous idea.
I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.
I'm the kind of director, at any given moment, an idea occurs to me, I'll just do it.
I do think there's a preoccupation that women understandably have with this idea of the roles we're meant to play and whether or not those roles serve us or ultimately kind of imprison us.
From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.
The relationship to the director is becoming more crucial to me, making sure there are some common goals. I haven't been in the kind of position where my roles have been chosen for me, where someone says, "First we'll do this and then we'll do this," and it's all part of some master plan.
The idea was that the record itself ['The Bones Of What You Believe' ] is a kind of labour of love for us - all our energy and all our passion and all the stuff we believed in is in that record, so you're kind of handing that off to other people, if that makes sense.
The idea of "making art for art's sake" makes no sense for me. Each area of my life, all the roles I play, influences the others.
I've discovered over the years that being subject to both the adoration and the vilification actually makes me more disciplined. It makes me understand that it's the idea of writing a great book that propels me now, whereas it used to be the idea of success.
Don't sell credits; don't sell walk-on roles... If people want to back you, they'll back you. But if you have to entice people will walk-on roles and crazy credits, you're undermining yourself.
When I buy a stock, I have kind of an idea where I want to sell it.
Theres a kind of dream that movies sell to people: You can start as the lowliest person and rise to the top. Hit Me doesnt sell this fantasy.
I think that female roles, they can be victims, they can be sympathetic, they can be in pain, they can be in suffering - but they can't be ugly. I think there's so much fear surrounding that, that it makes a film unlikeable, that it won't sell.
I think I found roles which weren't the roles I thought I'd be doing but they were the kind that brought me where I never imagined myself to be.
I know that I'm carrying a bit of a weight on my shoulders of what I do represents more than just myself as a director. I wish that wasn't true, but it is. It makes me think about doing work that I believe in and that I believe I can do well, probably even a hair more than I would otherwise.
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