Catherine Hardwicke Quotes

You can't really just think, "Oh, I want to make something that is going to appeal to every single person in the world." You have to just try to make a movie that comes from your heart.

I worked for 20 directors as a production designer, most male. I was on the set to witness firsthand a range of sometimes atrocious emotions - well-documented firings, yellings, fights between directors and actors, hookers, abusive things, budget overages, lack of preparation. A man gets a standing ovation for crying because he's so sensitive, but a woman is shamed.

People love to talk, so let them have fun talking, I think they have an interesting, wonderful connection, so you knowWhat does dating mean? I don't know. I couldn't say. People love to talk, so let them have fun talking.

People love to talk, so let them have fun talking.

As a director, you try to do things that are going to touch the human experience somehow, and emotions that mean something to people. You search for those projects and you hope to realize the potential in a project.

As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.

If a scene doesn't work on three levels - it's not advancing the story, the characters, and telling me something new - then put it in the trash.

For Twilight, I wasn't thinking it was going to be a crazy success, or anything. It had been rejected by all the major studios. Nobody wanted to make it and they didn't think it would make any money, but I read the book and I thought, "Wow, I want to capture that feeling of just being crazy in love. I wonder if I can do that in a film." That was my challenge.

I thought, "If I can make you feel what it's like for that first super-passionate love, other people might like that too," and, of course, they did.

I used to be an architect, so I have a series I am working on with USA Network that I created and am co-writing.

I was told 50 percent of the population gets cancer. Everybody is going to be affected.

The truth is, most of those female stories that are contending for Oscars are directed by men. Let's be honest. I looked at the 44 Oscar contenders in Variety that someone wrote up - there was not one directed by a woman. All the ones that were getting an Oscar pitch with the money and everything behind them were by men.

Meryl [Stripe]spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately [biased] on what kind of films you are being told to go see. What are you told are good films? Male films.

Most of the female-directed films, if they got distribution, would have fewer dollars to support the film and play in fewer theaters than the men. Because the female-directed films go to smaller companies. So the gap starts widening.

Some of the best stuff in all my movies has been improv.

I think it's true that the more sanitized a person is, you can't really relate to that person.

I just wrote a really cool script. It's called "One Track Mind." It's an origin story about the most successful and the most foul-mouthed, outrageous songwriter in history.

Of course, the male-directed films make more money.

I directed the first "Twilight" movie. It was in my contract that I could have gone on to do the other films, but I didn't feel as connected to the other books.

Now there are three guys who directed "Twilight" films that had a gross of a gazillion dollars. All those "Hunger Games" guys, the "Divergent" guys. All those people. When they are looking for the next big director, they see they have a track record. So there's 20 people that spun off of "Twilight" that have more qualifications than any woman.

People are more likely to help other people who look exactly like them. They will hang out at the bar and on the golf course with them.

We love those beautiful, Latin American stories where there is an element that's more mysterious and wonderful. I think as a child a lot of us love the idea of the star and more of the supernatural elements.

You actually do confront your dark side, your impulses, or your feelings of sibling rivalry in Cinderella or whatever. You admit that they exist and then you work through them and conquer them and come out living happily ever after having learned something. That's one reason why the fairy tales keep having traction and meaning.

We read about secret lives that people have on the Internet, or alternate lives of a serial killer where the whole family didn't know that their dad or their brother or their child was that. There are all the things in our heart that no one really knows, and I thought that that was interesting territory to explore.

I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.

When I talk to film students, I always say, "Buy the DVDs and listen to the commentaries, look at the making of, look at the behind-the-scenes," because that's such a great learning tool.

It's interesting for me to do the commentary with the actors because, as a director, you're so in your own world that you see it from your perspective, your issues and what you were trying to do, and then it's really very fun to hear their perspective on how it was to do a particular scene or how they felt, and sometimes, I didn't even know that, at the time.

Usually, we have some of those nostalgic moments like, "Oh my god, I can't believe we survived that day," because filmmaking is such a wild roller coaster ride.

As a director, when you cut scenes from a movie, you do it with the idea that it is making the story move forward and progress. Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.

Sometimes, a scene goes on too long and, with this being a suspense story and murder mystery that you're trying to discover through her heightened paranoia, you don't want scenes that take you on a tangent. Sometimes, you love those scenes, but you know that it's better not to be in the overall film. So, I'm not sad that they're not in the main movie, but I do think it's fun for people to get to watch them, if they want to.

I can go back to my very first movie, Thirteen, and think about that exact moment when I saw Nikki Reed and Evan Rachel Wood do their chemistry read audition together. It just came alive. I was filming it with a video camera and I was like, "I know I can make a good movie now."

When I was just five years old, I loved the scary layer and the symbolical power of the red cloak. I made my mom make me that red cloak, and I had to wear it on Halloween, two years in a row.

Even after I had just done Twilight, which made $400 million at the worldwide box office, I could not get financing for three or four projects that I really loved and I thought people would love because they didn't fit some studio or investor's model of thinking, "This will definitely make money." It's a business and a film does potentially cost millions of dollars, and they have to think that they're going to get their money back somehow.

Hardly any filmmakers can just make anything they want. Obviously, there are some exceptions, like Steven Spielberg, but he has that mainstream mentality and the kinds of films he loves to make are the kind that appeal to this big, mass audience.

Since I was a little kid, I did like fairy tale. I did dress up like Little Red Riding Hood. My mom had to make me a cape.

I thought it would be quite a challenge to direct a mystery thriller. I hadn't really done something like that.

When you're in the editing process, you try different things and you get creative ideas.

I really wanted our male characters to be a lot stronger. We gave them careers, lives.