Explore Quotes by Catherine Hardwicke

I had always liked, well, who didn't love Lestat and fall in love with 'Interview with the Vampire,' and 'Nosferatu,' and Coppola's 'Dracula' with the awesome costumes? So I loved all that.

I don't like the sterility of the casting office.

I had a bunch of other projects that I worked really hard on after 'Twilight,' and the magic just didn't hit.

Of course I went and got 'Breaking Dawn' at midnight the night it came out and read it instantly. I was like, 'Yes!'

Everything is so aggressively marketed at every age: if you're not in Baby Gap, you're not cool. That's how everybody's grown up, so they don't even know it could be another way.

Being in construction my whole life - I was trained as an architect - I always had to work with guys. And I always did my homework and then challenged them to figure it out faster than me. They don't want to be shown up by a woman.

I've worked on really big budget movies as a designer - 'Vanilla Sky,' 'Three Kings;' I've been in that world, and you can just see people get nervous.

There are some moments where you're so depressed, you cannot see the way, and you're like, 'Whatever. Bite me.' I think all directors feel that way sometimes.

For a film, when you condense, you don't want to keep going back to the same setting over and over.

Obviously, 'Twilight' had its own alchemy that was amazing, just phenomenal. Nobody thought it was going to make any money. Paramount wouldn't make the movie. Fox wouldn't make it. Nobody wanted to do it.

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.

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.

I was always trying to do architectural jam sessions. But it's not quite as easy as singing or playing a guitar, so I would always see wonderful live musicians and just envy them that I wasn't in that medium.

There's so many versions of 'Red Riding Hood.' It goes back 700 years.

So many images are saying to girls, 'Show a lot of skin and look gorgeous and sexy.'

Starting with 'Thirteen,' my known technique is to cast the lead, then find someone with whom they have incredible chemistry.

When you're in a creative flow with somebody - and I had this back in architecture school - you're just so passionate about what you're doing, and if that other person is just as passionate, you'll be madly in love with them. It's just that thrill of creating.

I have a bunch of movies that are, like, two minutes from being green-lit, or that they've maybe even told me are green-lit. But I never believe it until I see the money.

As you study vampire legend throughout history, it goes back to almost every culture. South Africa, Indonesia, crazy places have that legend and that idea of immortality.

As a director, we work ridiculously hard on every detail, and we do everything to the billionth degree, and mostly people notice nothing.

You have a big success, and it's still not easy to make a movie.