Winona Ryder Quotes

The directors that I end up having a really good time with are the ones that understand the fluidity of the medium and are interested in catching lightning in a bottle.

There are lots of good directors I would like to work with; I want to be inspired and challenged by them.

I would love to just keep working with really great directors who really inspire me.

What a fine line there is between artistry and insanity. There's no formula for it, and I think a lot of people when they're around you - even those closest to you - when you're in that whirl of creativity and you're grabbing those things out of the air, there's no rational process.

I think good artists know when they're on a roll, and they recognize when lightning is striking. It's a very fortunate thing to have that inspiration and not to overanalyze it or mess with it; you just follow it if you love what you do.

Fashion is much more collaborative than one might think. You have to have an idea and vision, and you have to communicate that vision to a team of people, and you have to create an environment that allows those people to give the best that they can give.

Inspiration arrives as a packet of material to be delivered.

The only thing that gets me back to directing is good scripts.

I hardly ever go into the studio with a work complete in my head. It emerges from communal activity.

In general, I don't know when inspiration will pop up.

The first work of the director is to set a mood so that the actor's work can take place, so that the actor can create. And in order to do that, you have to communicate, communicate with the actors. And direction is about communication on all levels.

I worked with Steven Spielberg on 'AI,' and his level of preparation was extraordinary. He told me there was a time at the beginning when he was a bit more spontaneous and went over budget, and it absolutely wrecked his head. When you look at the power and assuredness of his movies, it makes sense that he works out so much in advance.

I like to just work with great directors.

When a film works, the director had a lot to do with that, but the director also didn't have a lot to do with that. There are so many moving parts. It's really about being open to how the river is flowing and trying to get on the river.

Directing, I get all kinds of inspiration. It's working with people. It's a lot more fun.

Maybe some people, when they sit down to write their great novel or make their great record or paint their great painting, they have it all planned out in their head. But for me, it's never worked that way.

It's great to have a good relationship with the directors and learn about things you do with cameras, and how you direct.

As a director, you see something in someone; you know it's there, you just got to go get it. You do that with any actor. That's your job.

There are times when you're working with film people when you have to say, 'If the camera were on you, what you're doing would be perfect'.

Really good director sometimes will kind of see what the actors are doing and then get in there. Because there's the realization that you have to find it a little bit and then kind of clump around and sniff it out.

I think when you make a movie, one of your main focuses as a director is to inspire everyone else to give their best. Like manipulation.

Sixty-five days principle photography, five-day weeks, which is the only way I'll work. With my cinematographer Russell Boyd, we take as much time as possible before pre-production, looking at stills. The next most important thing: he will come to me and talk about lenses. And I'll see his plan, which is generally great, and I might talk about how the light will be, handheld or not? I talk very freely, and try not to talk specifically, just talk around it, because it can unlock all sorts of things.

Some directors work from day to day. I work from moment to moment.

Writing with a partner is, in some ways, an easy but odd process. Two people come into a room and look to each other for motivation. One might not be in the right mood at any given moment. And somehow, you begin; somehow, out of your exchange of thoughts, something engages both of you, and the process of collaboration begins.

Directors sometimes have good ideas that I wished I'd had, not on rewriting but simply on staging.