My philosophy is to always find the smartest people you can. Hire people smarter than you.
I kind of shy away from that idea of being an actress because it seems to me to be such a cliché. Also, if you want to be a serious actress, then it's quite difficult to make that transition without being the blond bimbo in the opening credits. Maybe I'm being idealistic about acting and the idea that they would hire people purely based on their talent and not on their looks. But I don't know if I would be a very talented actress anyway.
I dont partake in assembly-line convenience. I dont say that killing things is bad while I hire people to kill things for me.
Publishers have in-house editors, but I hire my own before I submit the work to publishers. They appreciate it and I feel more confident about the material.
My biggest problem in my life is I'm cheap and I didn't hire a publicist. In every awkward interview, normally actors get these things scripted.
Ignore the people who tell you it won't work, and hire people who embrace your vision.
You can't always hire great service providers, but you can create them.
You can't hire someone else to do your push-ups for you.
You market when you hire and when you fire. You market when you call tech support, and you market every time you send a memo.
Hire the right people and get the hell out of the way.
If you hire people who are smarter than you, maybe you are showing that you are a little bit smarter than them.
I think if you have a two-story office and you hire someone who's handicapped, it might be reasonable to let him have an office on the first floor rather than the government saying you have to have a $100,000 elevator.
There are 3 things I look for when I hire people. Are they smart? Do they get things done? Do I want to spend a lot of time around them?
I've found through experience that I'm only good when I'm writing something that, in essence, only I could write. The times I've written for hire, for other people, I don't think I've done very well.
While I can hire out the portrait, I don't, because it's just - that's where I shine. You know, that's my blood sport.
You asked me my favorite question: What happened and what did you learn from being under contract to MGM? And the answer is I know how to make movies. I understand how to do that. I've been doing that my whole life. It's just easier to raise the money yourself and then hire yourself. It's possible if you reduce your own budget a little.
I don't know why people hire architects and then tell them what to do.
When I was doing Goodenough, I'd hired a few people to work in my office, but then, toward the end of the '90s, I decided that this is not what I should be doing. I didn't want to make a big company and have to hire lots of people. I felt like I was better as an independent or as a solo operator. So I made the decision to finish everything and work alone just with an assistant or two. Although maybe there isn't the potential that there is in having a bigger company, it's good for me.
Hire people who intimidate you.
When you look at me you don't immediately imagine a very very glamorous icon, so it's only in the theater that I get to do these experiments. I've been an actor about 51 years now. I've played everything from an 8-year-old black boy to a 72-year-old French matriarch, and they hardly hire you to do that on TV.