Lyndsy Fonseca Quotes

I'm learning more and more to share creativity with the crew and actors. A film crew is more powerful if you listen to them, but it does make my job more tough because I have to listen.

I guess confidence is the only thing that I take from project to project, but I'm always open to learning everybody's style - the director, the actor I'm working with.

Software innovation, like almost every other kind of innovation, requires the ability to collaborate and share ideas with other people, and to sit down and talk with customers and get their feedback and understand their needs.

A good director has to be a captain - he has to work with a lot of people every day.

Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.

I enjoy playing other people. It's a great job and it's challenging. I couldn't do a desk job.

Communication between band-mates is imperative. Communication is the key to any healthy relationship. If I need to be checked, I expect to hear it put in plain words what my faults are, and give my band-mates the ultimate consideration by shutting up and listening, then acting on the advice given. Same goes for anyone else in any band.

I think a good director is a good listener.

It's part of the fun of it to work with strong personalities.

Respect and mutual respect are important. I, for instance, often show my latest work so that people can see how I work.

The most important thing for a director is being able to communicate.

I'm always cautious about overstepping any boundaries. At the end of the day, it's a director's medium, and if they don't want to hear from me I just step back.

A great director or leader knows his people, creates a great team, and then makes a great movie that can influence millions more than the readers of his column.

I think the key to working with my husband is that collaboration in comedy is best.

Leadership requires a blend of strategy, persuasion, inspiration and motivation. It is based on respect more than fear.

You're in a band with someone, it doesn't necessarily mean you're going to agree with everything they think or do.

I think trust is the most important thing. If the actors and the director and the crew trust each other and you set up perimeters and boundaries, you give everyone space to do great work.

I try to be as good a director as I possibly can. I try to be prepared, and I hope everyone else is. The preparation, I suppose, means just about everything. Little things mean a lot.

I haven't worked with a director who is a crazy person at all.

The producer, in effect, has to work as a translator. You form a very tight relationship with the director and writer from the beginning, and then you are constantly communicating to the various people that begin to come into the process, as you are trying to manage to hold on to a vision that needs to be communicated over a long period of time.

The idea, as a director, is to be able to bring everybody on board and to inspire and give energy to everybody and to explain specific color, specific ambience. I need to be very precise, but I think I'm a better director when I'm more a channeler than a dictator.

On a film set, it's important to be good at your work, but it's also important to be a compassionate and understanding human being.

Without trust, the most essential element of innovation - conflict - becomes impossible.

Certainly as a director you want to be working with people who are on the same page as you and that you can trust and get along with.

I see the staff and crew on the set as my equals. When I make a mistake, they know they can call my attention or even tell me what to do.