A Quote by Olivia Williams

I thought "I've coped with some crazy situations, and I can do this." But working with Roman Polanski is so different from the fashionable and accepted way of directing now.
When I got the invitation to be part of 'The Ghost' or 'The Ghost Writer,' as it's now known, from Mr. Roman Polanski, my interest level was very piqued. I was very excited and pleased to get such an offer from Mr. Roman Polanski.
Working with Roman Polanski is funny. It's like anything in life - someone warns you that something's going to be amazing or difficult or awful, and you say, "I can do that. I can cope with that." And then when you're in the middle of it, it may be joyful or tricky, but it's never difficult in the way you think it's going to be difficult.
Without any censorship, in the West fashionable trends of thought and ideas are carefully separated from those which are not fashionable; nothing is forbidden, but what is not fashionable will hardly ever find its way into periodicals or books or be heard in colleges. Legally your researchers are free, but they are conditioned by the fashion of the day.
Phil Spector is probably a better date than Roman Polanski.
Someone like Roman Polanski comes with a lifetime of achievement, cinematically.
While liberals appeared to be safely in power, feminists could perhaps afford the luxury of defining Larry Flynt or Roman Polanski as Enemy Number One. Now that we have to cope with Jerry Falwell and Jesse Helms, a rethinking of priorities seems in order.
I was at a party three weeks prior to the murders at Roman Polanski and Sharon Tate's house.
Roman Polanski actually said as much to me once. He had his head in his hands, and I said, "Roman, I've got to tell you, as an actor, seeing the director with his head in his hands... Look, I really want to do what you want me to do." And he went away and he came back, having obviously thought about what I said. And he said, "When my head is in my hands, I'm closing my eyes and trying to remember what I saw in my head, before any of the stuff."
The phrase you usually hear after a cut is "That was great. Perhaps we could have another go. Maybe try it this way." Even that much direction is prefaced with a lot of praise and encouragement. It's quite like how you deal with toddlers: positive reinforcement, and then a little suggestion that you might want to try something different. Roman Polanski will stop the take and shout, "No, no, no!" Which is somewhat alarming the first time it happens.
I think if Roman Polanski had asked me to do the phone book, I would have said, 'Yes.'
Asked by reporters about his upcoming marriage to a forty-two-year-old woman, director Roman Polanski told reporters, `The way I look at it, she's the equivalent of three fourteen-year-olds.'
Nobody supported me; my family thought I had gone crazy. They thought, you crazy gangster, you crazy drug addict, now you want to be a writer? That's it! They totally gave up on me after that.
'Barton Fink' owed something to Roman Polanski. As a director, he always goes beyond the obvious narrative drift.
Do I have a small movie in me? Yeah, probably, when I'm 60. But I'm not Hal Ashby, I'm not Roman Polanski. I'm true to myself. Whether you like it or not.
When you have the chance to work with Wes Anderson, with Stephen Frears and Chris Weitz and Roman Polanski and Terrance Malick you don't say no.
The relation of redemption and sanctification would be the ongoing relationship between the driver and God who is directing her. Now, if God isn't directing him, he may go wild and do all sorts of things criminal and crazy.
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