A Quote by Patty Jenkins

I like to work, and I worked for years as a camera person before I directed. — © Patty Jenkins
I like to work, and I worked for years as a camera person before I directed.
I always feel like when I work with people, I work with everybody - from the person that's working the camera to the person that's running the water to the person that's putting the clothes on me, the person that's combing my hair, my makeup, the person that's like, 'You gotta sign these papers.' I try to hang out with everybody.
I feel like I've made good friends with people I've worked with, but in terms of lasting inspiration, it is probably Matthew Vaughn who directed 'Kingsman' who's been really supportive, loyal to me, and been a really good person to work with.
I directed before I was even in television; I directed in the theatre for seven years, so that was my trade anyway. But in the UK, I've given up any hope of being considered a director.
Of course it's always easy when you work with people that worked together, or you work with people that you worked with before, because you develop over years some sort of shorthand of communion that is always very valuable.
I worked at 'POV' for five years before I told one person about my brother.
It was a little company that released [Bad Influence], it was really ahead of its time... I'm really proud of it. And it's Curtis Hanson. He'd directed a small movie before that, but it was his first directorial work that really worked.
Our fashion is for everyone and, throughout the years, we have had the possibility of working with the world's most beautiful and charming women and men. There is no person in particular who we would like to work with that we haven't already worked with.
When I'm breaking in a character like Jessica Jones, I have this amazing opportunity to create her backstory. It's all of the work that happens before I'm ever on camera... Writing 'Bonfire' was like doing all of that fun stuff; it was like 300 pages of prep work.
I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.
I wanted to meet Orson Welles. So I was like, whatever, somehow get me in on this. I'm able to get cast in it, but Orson Welles worked alone. He worked before all of us worked. He didn't want to work with anyone else.
When you've worked as long as I have, which I'm truly grateful for, you go in and out of these different environments. Sometimes it's not so much fun or easy or healthy. Sometimes you're fighting a lot of things off-camera that have nothing to do with the work on-camera.
Whether one becomes famous or not, you have to be reminded of people like Melville, who for the last thirty years of his life was completely unknown. He worked in a customs house and walked off to work as an anonymous person in this American culture.
If you don't like my work in 'The Affair,' that's fine, but I'll stand by the work because I felt that everything that went on camera was what I intended to go on camera.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
[ Lady Susan novel by Jane Austen is] extremely difficult to adapt. I worked on it for years, for, like, ten years, before I started showing it to people. This was my back-burner project.
I had admired Richard Burton for years and years before I had ever worked with him. He was a great, great actor. It was a joy to get to know him as a person.
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