I've never worked with an actor that I did not like.
In TV, when you're doing guest roles, you're gliding into a zone where people are already very comfortable. They go in and go to work every day. You're coming in, and it's a brand-new environment, so you have to get it... and then you're gone again.
It's got to be weird to sit in an office all day and deal with these creative types without having any idea of what they do or how they do it.
With work increasingly invisible, it's much harder to grasp the human effects, the social contours, of the Internet economy.
Which editor? I can't think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.
You cannot create employees without first creating employers.
There are no employees without employers.
I have a few other films in my life where I'm not attached and for a long time it was too complicated. Now it's starting to change because other actresses actually want to work with me, which is great.
I love to work on a set whether it's mostly men or mostly women, but there's something about being in a community of women that changes the energy.
I do have someone that I work with and she is amazing and I definitely don't have unmitigated abusive tendencies towards her. She is very sweet. I also know what that is like. I have heard my agent thinking he has hit mute on the phone before he, you know, physically unleashes broken glass and cellphones at his poor assistant. It is a tough job under the best of circumstances. I understand that.
A lot of times you'll do a movie, and you'll be working with adults with families and kids and stuff. There's a level - you guys aren't going to be hanging out every second, you know?
I think the days of working with producers in the conventional sense are over for me.
I don't like to work with stylists - I find the relationship too intimidating - but I love fashion.
It's a sign that you have a good work relationship if you don't have to analyze. That's usually a good sign within creative work.
It's difficult working with very rich actors, because inevitably they become a little spoilt, and the managers and agents tend to control things more than is healthy.
I think that helps because there has been no formality of friendship, the politeness of friendship, so we can just work directly on the work that's ahead of us [with Tom Hardey].
I think any workplace relationship is dangerous. That's been my personal experience. They haven't always worked out the best. But I know other people for whom it worked out great.
When you work with someone you don't quite know, you have to figure the director out, and you can come up with ideas that are counter-productive.
I found it a really refreshing change of pace to suddenly be completely directed. It was a type of collaboration that I don't normally have.
There are some actors that want you to call them by their character's name and they have no relationship with you outside of the character. But I like to get to know who I'm working with so that we can relax together, and it's more fun.
It's completely different to work with a woman that is my age, maybe younger.
As a second-time director you don't want to be working with someone who's a star that wants you to get down and kiss their feet.
I don't work with anybody I don't like, just for the attention.
The difference between working with a man and a woman... is immense.
I'm always fascinated by the 'who would you like to work with' question. I've never really had an answer; it only really comes as you work with them.
