Challenging Projects Quotes

I definitely think independent film is very exciting, and you get to sometimes take bigger risks. So that's always a challenge and something that I look forward to.

If I get an interesting script, I will surely do it. I just don't want to do cliche films.

I like Diaspora because it's audacious, it's driven by passion, and it's very, very hard to do. After all, who in their right mind would set as a goal taking on Facebook? That's sort of like deciding to build a better search engine - very expensive, with a high likelihood of failure.

Be it cinema or TV, I have always been interested in taking up challenging projects.

I guess, in a sense, 'Audition' was a film that gave me an opportunity that I hadn't had up until that point. So that's definitely one that is important to me. Then there's 'Visitor Q' that kind of taught me that there are some kinds of films that can only be made as low-budget films that really wouldn't work as anything else.

Many of the projects I'm most proud of are tall buildings, especially the housing projects. In New York I have two: one in Kips Bay and one at New York University. At that time, those projects were most challenging.

You always want to do something different. I enjoy the process. I like making movies, and it's increasingly hard to find a movie you'd want to make.

I've always looked forward to do something different in all my films.

I love to paint and beautify the most unexpected of places - I've painted everything from doorways to trains but have always wanted to do something really huge and different.

I am always open to working with debutant directors, as they bring a new perspective to a script. That motivates me and helps me choose unique scripts.

I think I like a challenge. I try to find projects that will push me in a new way and help me grow.

2018 has been such a fantastic year for me: working on some hard-hitting documentaries, as well as 'Strictly,' has been a real treat.

Taking on challenging projects is the way that one grows and extends one's range as a writer, one's technical command, so I consider the time well-spent.

The kinds of movies I make are not easy to get made.

The best work for creative folks on the team is when the problem is big and the solution escapes everyone.

You can say I'm not the easiest architect in the world, because I'm always trying to push the limits.

I'm always trying to find something unique or a project that I can do something unique in.

There was a solid year and a half, perhaps two years, after making 'Temple Grandin,' when I didn't do anything. I just didn't have much patience for roles that were silly, or light, or inconsequential.

I'm drawn to doing interesting stuff at work. And some of the time with the supernatural, you get to do really crazy, fun things. But I'm not a big genre-fantasy gal, particularly.

We're looking for people who are working on things that seem out of reach, uncomfortably difficult.

When I came off the Halloween movies, they were very stressful movies to make. That had been four very stressful years. I'm happy with how they turned out, but getting the end results took so much fighting with people and so much craziness, that at the end of it I was so burnt out.

When I got the opportunity to do the new wing [the Schauhaus] for the German Historical Museum, for instance, I didn't see it as an opportunity for my own ego, to do something so exciting that every architectural publication would want to put it on the cover. I accepted it because I knew it was going to be a very difficult project, and I wasn't sure I could do something exciting there.

I am not running after money in Bollywood, I am experimenting with films and roles here.

I try to pick interesting projects, the kind of projects that I would want to watch.

Give me something to assemble, I won't look at the directions, I'll try to figure it out by myself. It's why I love Ikea furniture.