A Quote by Lena Headey

I've never directed before, so I need to make sure that people know that I can. The movie that I've written, 'The Sophisticates,' is a... small ensemble comedy and I hope it's charming and funny.
A writer/director is a tough thing to gauge when someone hasn't directed a movie before. You just don't know. Sometimes it will be a great script that's written beautifully, and then the director who has also written it does not have the facility to translate it.
Big movie or small movie, you make this thing, and then you show it to people, and you just hope they like it. You hope it works.
I would love to do a small indie comedy, like a Wes Anderson movie or, like, an ensemble comedy like 'The Royal Tenenbaums' or 'Little Miss Sunshine.' I like comedies like that, that have a lot of heart and are about family dynamics.
It's a lot of people's goal to be the lead in a movie, and that was never my goal. I just wanted to be the third banana in an ensemble comedy.
I know the nature of comedy, and you never know what will happen with the next movie or whether people will find it funny.
[In comedy] you never want to leave the actors hanging out to dry. So you need to come up with funny individual stories for each character, and then you do this sort of comedy geometry, weaving them together. Once you've got a funny structure and you know why the scenes are funny, then you get super funny people to say your own lines, say their own lines, say things in their own way, and every scene is a live rewrite in front of the camera.
I'd never directed before and this movie's too important to me to put in the hands of some guy who has never directed. Even if it's me.
I'd never directed before and this movie's too important to me to put in the hands of some guy who has never directed. Even if it's me
You know, I hope that someday they make a movie about me. People need to know the story of 'Dolemite;' they need to know my story.
I'd heard Dallas described as a 'big, small town' before, even before I moved. As a kid from an actual small town in Iowa, I was never sure what to make of the description.
There's a very interesting article or symposium to be written on just the real difference between comedy filmmaking and non-comedy. Because, you know, when you work in comedy, you depend on audience screenings to tell you about your movie.
Cannes is a circus, so you have to have fun with it. Everything suddenly becomes funny. And the promotion of a movie - that's where you really need to be a good actor. You need to make journalists believe that what you're saying is just for them and you've never said it before, even when you're talking about the same film over and over again.
I hadn't done a comedy for a while. I had directed a very low budget movie called The Ape and it was playing at a festival in Austin. Judd [Apatow] was there and he came and saw it and it's kind of funny.
You sure you don't need your Prince Charming to come and save you?" The knot in my stomach evaporated. My Prince Charming huh. "Sure, do you have one handy?
The character I play has all these revolutionary ideas. I think the classic thing is that majority people who are criticising it probably have never read the books, and need to. And I'm sure that the Catholic Church, which is being directed as you know, can handle it.
In the first two projects I've worked on professionally, I've been doing ensemble work with other young women, which I think is pretty cool. And they both were directed by and written by women. It's been a wonderful experience of real ensemble support and women lifting each other up, and I feel really lucky for that.
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