A Quote by Susan Sarandon

With the most interesting directors, the cast comes together to make something magical that nobody counted on. — © Susan Sarandon
With the most interesting directors, the cast comes together to make something magical that nobody counted on.
When I am putting looks together, I dare myself to make something work. I always look for the most interesting silhouette or something that's a little off, but I have to figure it out. I have to make it me. I think that's the thrill in fashion.
Directors don't get to see other directors at work - they're the only one on the set. I've met directors who've asked me what another filmmaker is like. So, there's probably nobody better placed to make all the comparisons and to pick up stuff than an actor.
The reason it takes us from November the second to December the sixth to certify is because we have a very tedious, very comprehensive process where we audit by precinct, across the state, every vote that was cast to make sure that every vote that was legally cast is counted.
Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'
Most of the most successful films Blumhouse has made have been rejected by everyone else. No one wanted to make 'Get Out.' Nobody. Nobody wanted to make 'The Purge.' I think it was floating around for three years before it came to us. Nobody wanted to make 'The Gift,' when it was a script called 'Weirdo.'
That really sets great directors apart from good directors: their ability to make you feel like you matter, even if your part is much smaller. That's one thing I found with most of the great directors I worked with: They all have that skill. Not everyone takes the time.
I like a sensitive script, interesting and respectful directors and co-actors, producers who understand the creative needs of a project. A happy unit in which everyone collaborates to try and make something compelling.
If prose can cast a spell, we will listen to it no matter what it's saying. If a narrative uses language in a magical and enlivening way, we will listen to the story. But if the language doesn't cast a spell, we will listen to it only if it is telling us something that actually happened.
You can make five massive hits in a row and still not get cast by the directors who you want to work with doing little movies.
'Grease Live!' was... it was a chore! It was interesting: one of, if not the most, magical television experience I've had in my career, where the people are concerned.
Directors are the captains of the ship, and it's your job as the lead actor to make sure that the rest of the cast understand that by doing whatever he says.
Most of the cast and crew on 'Mama's Family' have been together since the 'Carol Burnett' days, so we work really well together. It's like I'm being paid to pretend I'm in show business.
Nobody cares for the product I, and a host of other horror directors, make.
Define your own success: If you're going after a million bucks with your own startup, you've already failed yourself. Instead, do something because it's interesting, challenging, it offers you the chance to learn something new or gives you the chance to work with really interesting people. Most startups that are designed to make money, especially in this environment, don't.
It's much more interesting when you go to different places - make a left turn when nobody expects you to make a left turn, and make a right when nobody expects you to do that.
I'm interested in good collaborations and in working with directors who bring something new and interesting out of you.
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