Susanna Fogel Quotes

You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.

I'd worked with directors who wouldn't collaborate. Then I've also worked with directors who didn't really know what they wanted. I knew I didn't want to be either one of those guys - or girls.

The directors I respect are the ones who have a collaborative attitude, who collaborate with actors.

What goes on between the actor and director is sacred.

I'll work with a director if I think I'm going to get into a comfortable situation, and if it's someone I respect and who respects me, even if they're not so well known. Movies are hard to make, and you have to work toward a common ethic and do your best.

It's really hard as a screenwriter, you feel like you have a vision and then you turn it over to a director and you have to let it go.

I sign on to any project because of the director: because they won't change, and you've got to feel confident that you're in good hands, in their vision.

I care a lot about who I'm working with as directors and other actors.

I would say the most important aspect of direction is that you, as a director, and your producer need to be on the same page, the same line of thinking. If that doesn't happen in the beginning of the film, then that will show in the final product 100 percent.

When you're working with a producer, there has to be chemistry.

I think most co-directors and co-writers just hold hands.

I've known Greg Berlanti from way back. I've done two shows with him, and both times, he was like, 'I've got something good for you,' and they did not disappoint.

I love Malcolm Lee and jumped on the opportunity to work with him as a director.

With movies, so much of it is, 'Who is the human being that is going to be directing it?' Because it is their medium. In a way, you are serving the director, and when it is someone that you feel you can have a lot of confidence in, it can make a big difference.

As far as an actor-director connection, I think those can develop, and when they do, they're really great, and you just cultivate it like you would any relationship or friendship. If you find that something special, it helps down the line when you want to do more projects with each other.

I'd work with Danny Boyle every day of the week. No matter what he was doing I would do that.

As always in a musical collaboration: One has to like each other. As simple as that.

Film is a very collaborative medium. If you're smart enough, you learn how to maintain your vision while drawing resourcefully from all the people around you.

I believe the better I can write on my own, the better I can be of service in a co-write. The big thing with a co-write is trust, and it's not so much what you get the first time you sit down with that writer. It's the relationship that you build that you're in. So you can trust throwing out all your ideas and how strong you think they might be.

I've been so lucky - I worked with Jason Reitman twice, who has always been a really strong advocate for my voice, and has always really respected the scripts that I've brought him and is just the coolest.

Woody is so musical in his filmmaking. I've never worked with anyone I've trusted so completely. He won't let you hit a false note.

My career has gone in such a way that I've gotten to learn that, when you're working with a great storyteller, you don't ask questions; you just trust them.

Honestly, one of my favorite things about a director is when they understand what an actor brings to their role.

I've been incredibly lucky with the directors I've worked with.

Allan Cubitt has written exceptional material, and I feel very privileged to be working with him and the very talented cast.