Greta Gerwig Quotes

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There's nothing more thrilling than watching great actors say things that you wrote and bring them to life.

I didn't know the city at all, but I was so happy to be in New York I cried. I was so excited.

I've never had a plan, I've always done things from instinct.

I had dreams, but I didn't have the sense that they would necessarily work out. They seemed very far-fetched.

Getting bad reviews or doing something that's not great is also really good for you as an actor. It also makes me feel as an actor that I've earned my stripes a bit.

I think as an actress, I prefer having a character on the page. It allows you to be more invested in actually creating a whole person. It's easier when you're not trying to come up with your next line on the spot.

We would go down to Riverside, California, which is very poor now, but that's where my grandfather grew up. He grew up during the Depression in Riverside.

I live in New York, and I love New York as well, but I think Los Angeles is a place where if you have the right person with you, there are all these little worlds that you would never guess by just looking at the exterior of what the city is.

The economy is rough. I think that affects everyone from big filmmakers to tiny filmmakers.

I was serious about ballet for a long time, but my mom got me into tap and jazz and modern and hip-hop, and I was one of those over-lessoned children.

I loved dance.

When I did plays in high school and college, I never remember memorizing my lines, but once I had blocking, I had all my lines memorized. Once I had movement associated with words, it was fine. Before I had blocking, it was just text on a page. Once it became embodied, it was much easier.

I'm not really capable of memorizing stuff without moving around, that's how I do it.

I thought movies were handed down by God. I knew that theater was made by people because I saw the people in front of me, but movies seemed like they were delivered, wholly made, from Zeus's head or something.

Books and theater were the way I understood the world and also the way I organized my sense of morality, of how to live a good life.

In terms of sheer pleasure, Tom Stoppard was very big for me because he is so funny and so smart, and it felt delicious reading him.

I think being attracted to mistakes is one of the things that film can capture in a way that theater can't. Film can capture a moment of spontaneous life that will never be captured again.

Sacramento is where I grew up, so I felt like it had not been given its proper due in cinema.

Something people say about acting is that acting is listening. But I think that writing is listening, too. That you really have to listen to what are they saying and what they're communicating to you. And so, a lot of it is just getting stuff down.

I don't really decide what the core of the story is before I write. I write to figure out what the story is. And I think the characters end up talking to you and telling you what they want to be doing and what is important to them. So in some ways, your job is to listen as much as it is to write.

I'm so interested in taking tropes from other movies and putting them on something where it doesn't belong.

I think structure is so deep in us. We put it in stories we tell our friends or in emails we write. We want it. It's how we create meaning.

The transition from tiny movies to less tiny movies to really big movies has been actually quite seamless in a lot of ways as far as my experience of acting in them.

I loved 'Moonlight.' I thought it was really beautiful. Really great.

Writing on my own versus co-writing kind of is the exact same thing because we don't sit in the same room when we write. We're always writing alone anyway.

I'm all for the banalities of life and humiliation and everyday tragedies, but I also think people have big moments, and they have bigness in them.

I think that people in their 20s actually aren't given enough credit for their ambition.

Working is not instantly rewarding. It's a long process, and it's much easier to just feed whatever dopamine cycles exist in your brain in instant gratification ways. I get it; I do it.

I stopped being interested in improvisation, and I continue to not be that interested in it. Comedians can do it on a different level because they have a goal, but if you're improvising something that's dramatic, there's not that much to be good at.

I feel like every year there's a thing about 'not enough roles for ladies!' and, then, also an article, like 'The Year of The Woman.' I think that we all just know in our hearts they're underrepresented. But that doesn't mean that there aren't amazing moments.

I've never worked on anything that I haven't in some way enjoyed.

The more particular you make something, the more universal it becomes.

Everybody is always in the middle of their own opera.

When I was a kid, I used to do my homework in the living room, where there was a picture window. I was hoping that someone would walk by and see me looking very studious in my living room.

I always feel like a vague failure in L.A. - it always makes me feel like I should somehow be different than I am. And I don't know why.

I'm, like, the only actor in New York who's never, ever been on any 'Law & Order.' And I've auditioned for so many. The sad thing is I love 'Law & Order.' I'm really obsessed with it. And they always said to me, 'You seem like you're making fun of the material.'

When I graduated from college, I thought that I would probably never be an actor because it seemed like everyone was big by the time they were 20 or not at all.

It's really hard for me to be around people I admire.

I wouldn't call myself 'into the DJ scene.' I have friends who are DJs, like James Murphy. I was really into the DJ scene at his wedding. But generally, I'm not at the clubs. I've never been to a rave.

I thought Mia Hansen-Love was a true auteur, and I always wanted to work with her. Mia's empathy for her characters and her ability to use the language of cinema to communicate real human depth is extraordinary. She's a humanist.

I was a massive Whit Stillman fan. Groupie. I would have done anything for him.

I love movies, but sometimes I think it's better for actresses not to be total cinephiles. You have to be able to do the work at some point; you can't be totally starstruck. 'I can't believe it's Woody Allen!' You have to get past that.

I sometimes have to turn off the fan part of my brain when I'm acting; otherwise, it would be terrible.

I knew I wanted to be involved with theater or film in any way I could, either as a writer or director or actress.

Acting was always the first love, but a lot of people want to be actors, and my goal was, 'Come hell or high water, I will be a part of this world, however I can.' So that just led me to throwing myself into every aspect of narrative storytelling I could.

I'm not goal-oriented so much as I'm constantly aware of what I'm passionate about, and I'm constantly updating the list. I envision many possible futures for myself where I could be happy, so I just try to keep my passions alive.

I love writing, and I think I'm kind of a workaholic. I'm happiest when I'm working.

I'm really interested in trying to tell stories about women that don't involve romantic components. That's so much a part of the way we feel about female characters and their needs that it feels like it's built in - but I'd like to find a way that it's not. There are so many more stories than that.

For me, the French new wave is Truffaut and Rohmer. Godard I sometimes have trouble with because he's very much of a director's director. I feel Truffaut is such a humanist, and I always go in that direction.

Woody Allen was the reason I wanted to move to New York City and one of the reasons I wanted to make films. I felt that I understood his films, and I love them so much. When you're starting out, certainly, you have this sense of wanting to talk back to people who have influenced you, and I always wanted to talk back to Woody Allen.

As a writer, I think I'm mainly interested in contemporary themes, so when I create my own stuff, it's inherently that. But as an actor, I would like to do lots of different things. I would love to play someone completely different from myself in a costume drama.

I feel like I'm an actor that likes to have lots of points of connection.

There's something very satisfying about old cameras because they're ingenious. I mean when you take them apart and actually see, 'Oh, this is how we make photographs,' it's an ingenious thing, but it feels like it's in a way a layman can appreciate, whereas a digital camera, I don't even begin to know what goes into making a digital camera.

For Mike Mills, I learned that having dance parties and crying with your cast does not make you a weak director, it makes you a strong director.

I always have a soft spot in my heart for New York designers and independent designers, people who are doing the fashion equivalent of what I'm trying to do in film.

I feel like a good pair of diamond studs goes a long way. They make everything look dressy, and you just seem more put together.

Young Harrison Ford, what a dreamboat.

I'm scared of the Internet. That's not real, but it is. I'm worried about what it's doing to us.

I sound like an old man when I talk about the Internet, but I am actually worried about what it's doing to our brains and our sense of connection.

One of the things that happens when you write characters - and maybe this is my own sentimentality - is that I always find I have an instinct to protect them.

I was very serious about ballet until the age of 12, at which point my body changed, and it wasn't quite right.

I was part of a hip-hop group called Fly Style. I was one of two white girls, and I was part of the younger company, which was called Touch of Style. And it was amazing. It gave me a different perception of dance and beauty because the other girls were mostly African-American and Latina.

I'd applied to graduate school for playwriting, and I got rejected by every school. I felt that theatre was closed but that, when it came to film, the door was very slightly ajar. If I have any virtues, it's that I'm good at walking through doors that are slightly ajar.

I've made so many films in New York. There was an assumption I think a lot of people had that I am a New Yorker, that I am from New York, and I always felt like nothing could be further from the truth.

The Catholic theatrics are pretty high quality, but the Protestants have better hymns.

I feel like movies are presents, and credits and fonts are bows and wrapping paper. I like everything to feel like it was given a lot of time. I hate it when I watch movies, and it seems like they just went and picked a font and, like, called it a day.

When you write something you know, you're making a story that will work, whether or not there's bits taken. It's always funny to me when people say, 'Well, it's clearly autobiographical,' and I say, 'Well, how do you know my autobiography?' Certainly, there are things that are connected, but I just think it's a very interesting assumption.

I don't know any woman who has a simple relationship with their mother or with their daughter.

I'm always interested in how people use language to not say what they mean.

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