Antony Johnston Quotes

The difficulty with film is you always have to consign a story to being a certain length, whereas with a book you don't have budget constraints; you can cast it yourself.

I don't have a style. I just try to write what the story demands.

For example I don't work with William Hurt the same way that I will work with Viggo. They're different guys and they work in different ways. So a good sensitive director has his general style and technique and personality that he uses but you don't impose that on the actors.

If you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters.

I would never say I will stay in electronic music for the rest of my life. I will always do whatever I feel like at that moment.

The goal has been not to get pigeonholed. I like working in different genres. I'm gonna try to be entertaining and funny and do my usual thing.

I try to keep my ear to the streets without sacrificing who I am as an artist. If a song needs a drum machine I'll use a drum machine. If it needs a drummer, I'll use a real drummer.

Those who write may think they know their target market. They may even feel they can shape the work to fit it. If this is true of you, you have more control over your creative process than I do. Even so, I humbly submit that you try letting your writing shape your target market instead and see what happens.

Every project is different. Adapting 'Robopocalypse' would be totally different than adapting, say, 'Hunger Games.' Each project has its own life and its own identity. You get into trouble when you think there's one single way to approach everything. Each project, there's a different way to attack it.

My existence is about making movies, so I've just got to rock and roll with the punches. You want to make movies on telephones, I'm there.

A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage.

Any part I do is a marriage of the words - what the playwright or producer or show runner's vision is - to how I would play it. It took me a while to get rid of 'Oh, they want it this way, so I'm going to do it how they want it.'

Whenever you're adapting something that's a 12- or 14-hour read down to something that has to be around two hours, there's going to be some cuts.

I think of myself as a journeyman actress. I will attempt almost anything that I think that I can bring off. It could be almost anything.

A typical twenty-page short story would work quite well as a graphic novel. A single graphic novel of maybe 120 pages would condense down into a short story quite nicely.

On 'Supergirl,' there are huge characters with huge mythologies behind them. What's important is that you don't lock yourself into something.

You realize, no matter how great, books are not shows or movies; each operates on their own different rules. 'Game of Thrones' is no different. Being forced to come up with those scenes on short notice helped how we were viewing the show and forcing it to come into its own.

I see myself as a perennial expatriate because, frankly, I don't think I fit comfortably in any conventional form of filmmaking, and I feel at the same time, depending on the project, I fit into many different ones.

It's hard enough condensing 500 pages into a movie, and it would have been impossible to condense 800.

Be it television, theatre, or radio, I can work in any medium. I don't want to limit myself to just movies.

I don't have any specific criteria on doing a drama based on where and what country. If I like the storyline, I'll go for it.

I'm absolutely open to scripts written by someone else.

When I meet a good actor, I would like to be a director. When I meet a good director, I would like to be an actor. When there is a good script, I would like to be both a director and an actor. The switch is very natural, not intentional.

I like leaving a space hollowed out, where as I change I can inject new meaning in the shell of the songs all of the time. Where anyone who listens can hopefully inhabit them in their own way.

The best part about living in New York is that you are able to play with different people in different styles in the same week. It's really part of who I am as a musical person. I try to incorporate everything that I encounter.