Alden Ehrenreich Quotes

I had written the script a few years earlier for Paramount, then later got hired with Sam [Fuller] to write an entirely new script that he was going to direct. And that was one of the great thrills of my professional life.

I got very lucky to work with Wes Craven, very early on in my career, and continued to work with Wes for almost 19 years. I learned so much from him, and about his sense of story and his sense of horror, and that was great to be a part of.

When Tetro came out, I met with Warren Beatty for the first time. I had, like, a four-and-a-half-hour lunch with him, and then over the next five years continued to meet with him and go to his house.

'Beyond the Lights' was my fourth film. I gained a lot of knowledge, and I'm excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of 'What's next?'

It's great to work with people who are jobbing actors at different stages of their career, and learning from them, and getting over being star-struck by somebody like Ian McKellen because he has such a long prestigious history in the business, but then seeing how he works on the camera; you never stop learning.

I'm still working on my career, still trying to learn from other artistes and develop my skills and my style.

It was a great learning experience to work with James Stewart.

Actors and writers need to come back to the theater because it's a place where you can learn. You have to pay your dues, and people who haven't paid their dues in the theater, I think, have a hard time creating a whole career.

When I was starting out, William Goldman took me under his wing, and he's still the person I show pages to.

There's a lot of directors I'd still love to work with - one of them is Spielberg, because he kind of started my career, and I've not worked with him yet.

Yashraj liked my writing style, and they had a concept in mind, so they hired me to write. That's how 'Luv Ka The End' was born. It was fantastic working with them. They are very professional. For the first time, I did not have to ask for my cheque. It was sent home, in time.

I feel like I ask people who have been in the industry for a while a lot of questions.

I do not come from the industry. But I have realized that it's very important to work with senior directors and good production houses. It makes a lot of difference.

When I was younger, I felt more like a student working with a mentor when I worked with the conductor, but now it feels more like equals.

I have worked with good directors, and I consider myself very lucky because I think that it is very important.

I mean I met James Wan at film school. That's where we met. I didn't go to film school to find someone else to work with. I was thinking I would go and learn to direct and go and be a director like everyone else at school.

I went to work with George Miller on game stuff, but to also learn every possible thing I could from somebody I admire so much.

I have no qualms approaching directors who I know will help me grow as an actor.

I learned a lot while I was ACing and gripping for other DPs as I was coming up.

My director, Monty Marsh, is really awesome - I've been working with him for years now.

Roger [Corman] didn't actually hire me, though. I was hired by AIP [American International Pictures], the studio that made the picture, which was Sam Arkoff and Jim Nicholson. It was a great learning experience for me, because not only did I work on the script, but they hired me back to go on location when they were making the movie, to write new scenes and so forth.

I don't see myself as successful because I've worked on only a handful of films. The way I look at it, if you're really, really lucky, if you consistently work hard over the course of ten years, if you refuse to take no for an answer, if you surround yourself with great mentors and are a sponge, willing to learn, then you're bound for something to happen.

I've done seven movies in eight years, and with each movie I feel like I'm learning a lot. I'm still young-ish, so I still feel like I'm in the zone of learning and creating. Those are the perfect places to do that. And in a weird way, you have a lot of freedom.

Over the course of my career, I've had the great fortune of working with some incredible filmmakers who have protected me and inspired me and taught me what an honor it is to work in film.

When John Travolta had the opportunity to do The Boy In The Plastic Bubble, he brought me and a couple other people from the movie to just be the students and have some parts, because he wanted to help us out. I thought that was really sweet.