A Quote by Jennifer Morrison

I would have to say that working on 'Warrior' felt more like working on a play than any other film I've ever done. — © Jennifer Morrison
I would have to say that working on 'Warrior' felt more like working on a play than any other film I've ever done.
[Working with survivors] it's just a whole different level of concern and that is something that was categorically different working on this film than any other project we had done.
"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.
It's not like it's not fun to work on big studio pictures. It is. But I can't say that's more fun than working on some little indie for scale. Look at The Amateurs, that's probably the best time I ever had working on a film. With that group of guys, it ended up being an experience I'll never forget. I'll always have the fondest memory of that shoot.
I'm just as intrigued by acting as ever. It's an ongoing process. There's no arrival. There's no point at which you say "Oh, OK, done it, got it." It just doesn't happen. And that's true of any creative endeavor. For me, it's just a lifelong interest. I'm very much interested in the craft. I started by doing plays and it took me a long time to feel comfortable doing movies, working with cameras. I felt like I was a theater actress pretending that I was a movie actress for quite a while. Now, I just love the process of working with cameras and being on a set and trying to put a film together.
I love working with Prada, I would do it all the time if I could. Working with them is like working on a film: it is very collaborative.
In general, working on a horror movie is no different than working on any movie. Turn the camera around and there's 20, 30 people standing around, eating doughnuts, smoking cigarettes between takes, working, like any other set.
I worked with the late Leonard Frey. I did a play, and I would have these ideas and he would say, "I don't know. Try it." And I would try it and it would be awful, and he would go, "What do you think?" And I would go, "It was awful." And he goes, "Okay, we'll try something else." And that's great because it really makes you feel less working-for and more working-with. There's nothing better than to feel a part of the team.
I prefer reading novels. Short stories are too much like daggers. And now that I'm done with my collection I'm more interested in different forms of writing and other kinds of narrative art. I'm working on a screenplay. But when I was working on Eileen, I definitely felt like I was taking a piss. Like, here I am, typing on my computer, writing the "novel." It wasn't that it was insincere, but there was a kind of farcical feeling I had when I was writing.
I've probably done the odd thing. I've probably done more than I would have done and some things you don't say no to. You don't say no to working with "The Simpsons"... the greatest comedy show on television. You mustn't. Even though going to my bad judgment, I remember saying that all I can do is make this show slightly worse.
'Richard III' is a really difficult play to film - it's involved, often obscure. I felt it absolutely necessary to do more simplification than I've ever done before.
This is so much harder than I ever thought it would be...because the thing is, even if you're just working part-time, your boss is going to expect a full week's worth of work, no matter how understanding she is. That's just the nature of the working world-things have to get done, babies or not. And if you're like me-if you're like any woman who ever did well in school and did well at her job-you don't want to disappoint a boss. And you want to do a good job raising your baby...It's not like you think it's going to be
I don't think there's any single finished point for a work. It's done when something's happening with the work that feels like a balanced, coherent disharmony. That's one way to say it. And where if I keep working on it, to discover and struggle with new problems, I'll obliterate the ones I was working on. I could keep working on it, but it'd become something different. And I value what's here, at the moment.
Not bragging by any means, but I could have done a lot of other stuff as far as working in films go and working in television... I had chances to do that stuff, but I like baseball, I really do.
I suppose I don't have to work, but I do love working. I class myself as a working-class girl, and I've never stopped working. When I'm offered shows here, there and the other, I do an awful lot because I feel other people would love to be offered what I'm offered; who am I to say no? I'm definitely working class, and I always will be.
I had worked in TV prior to working on 'Game of Thrones' - 'Game of Thrones' is far more cinematic than any other television show that I had done before, and so I feel that the worlds of TV and film are most definitely merging as one.
That's the difference between working on film and working in a play. In a play, you work on it, and you live in it and develop it and make it happen.
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