Rebecca Hall Quotes

I don't know why directors sign on to these projects and completely rewrite everything.

Shooting in Hong Kong, you can do whatever you want, even change the script every day. In Hollywood, you have to have a lot of meetings.

High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script.

What I will say - one thing that is attractive about getting a real film made within the studio system is that studio systems, with their marketing and distribution, have real power.

It's just hard to get an independent film made.

One thing I've learned about his business is this whole 'plan thing' - it doesn't work.

When you're relegated to go from movie to movie, so much of what you're doing is out of your control beyond creating the product.

You never know how things are going to turn out in a movie. You can imagine a scene one way, and it can turn out to be completely the polar opposite of what you expected. You just have to roll with the punches.

I always try to plan things out, but they never work out the way I expect.

I feel that directors at times are like the janitors on the set. I am the secretary, I am the organizer, I am the maid, and I ask if they have eaten or rested. The best things are always out of your control. It's those moments that surpass the imagination that are thrilling.

On Belle de Jour, the producer was very protective. It was very hard for me.

There's never any ability to plan a personal life.

What's so great about DreamWorks is that it's run by filmmakers who believe that if it's not broke, don't fix it.

They are just really stupid people in Hollywood. You write them a script, and they say they love it, they absolutely love it. Then they say, 'But doesn't it need a small dog, and an Eskimo, and shouldn't it be set in New Guinea?' And you say, 'But it is a sophisticated romantic comedy set in Paris.'

Every week, there's a different twist and turn you're not going to see coming, and how you handle that is important.

I know the way WWE works. Things change last minute.

Movies are not an art form where you get to kind of sit in your art gallery and paint, you know? You don't do that. You're spending a lot of somebody else's money.

It's weird writing for a documentary because I have all these ideas for what I want to happen, but what actually happens is obviously completely different.

I'm used to things not coming in the packages you expect.

I got dumped off 'The Iron Lady' a month before they started shooting, and then they brought two new writers on. Then I was brought back on again. I'm just a bit of a rubber ball. I just bounce back.

In America, I don't think you have the creative freedom that I'm used to. Traditionally, it's a producer's cinema here.

The move to turn a director was a very important decision and totally uncalled for, especially after my experience of 27 years as a producer.

When you come to the set, and are aware of the limitations of the script or the director, don't expect the pigs to fly.

I very rarely read a script that I don't feel I want to change a lot.

Life takes us to unexpected places sometimes. The future is never set in stone, remember that.