Byron Howard Quotes

To direct a genuinely animated film, you're really having meetings and discussing what you want with animators who then go off and produce one shot at a time that you look at and comment on.

I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.

A movie is a creative process from its conception, through its writing, to its execution, to the editing. I think with the best films there is some kind of contribution from one person all the way through that. The best films are made by people who write, direct, and edit, so there's continuity.

Directing a movie precludes me from being involved in any greater way. But, the job was never to do more, it was always to enable. Sometimes as a producer, you're creating and writing it, or sometimes you're writing and directing it, or other times you're there from the very beginning.

The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."

When you write and direct your own film, you basically know exactly what you want. Or you hope to. For the studio, it actually can make life a little easier, because if you have a bunch of questions, they only need to call one person.

I love the process of making a movie so much as an actor that I can only imagine I would love the process of being the director.

I hope to direct at some point, but I don't feel the pressure to rush it. I want to really know what it is that I'm doing.

I love the process of working with a filmmaker and the writers and the actors.

I would love to direct one day. I value the relationship that I have with a director so much, and I would be really excited to be on the other end of that relationship.

I'm very interested in film, but any more involvement would happen organically. I'm not really seeking anything out, just looking at projects that come up that interest me.

When I write something, I want the best director to direct it. And that's not going to be me. So when David Fincher comes along and wants to direct 'The Social Network,' when Bennett Miller comes along and wants to direct 'Moneyball,' or when Danny Boyle wants to direct 'Jobs'? Hallelujah. I want them directing it.

There's so much that goes into a film that I feel like it's a bit arrogant to say, 'Oh, I never watch my own movies.' Well, it's not just you. There's a whole host of other people. So much skill goes into it. But I would say it does take a couple times seeing it to get a level of perspective.

I love writing books, but it's a solitary experience. When I'm on a film set, I'm with a bunch of other artists working together to make one thing.

I just know that making 'Beast' was an amazing experience. It was my first feature, it was the director's first feature, and every day, you're just trying to do good work and learn.

I think that as a director, especially when it comes to writing the script, which I also do, and I'm also the first one to visualize this story, I think contributing to the film industry means I'm able to take the best of a story and translate it well into a movie that can be released in theaters.

With 'Pete's Dragon,' Disney was very excited about the movie I wanted to make; they were very supportive of it, and it was a smooth process. I was really surprised by that.

I think filmmaking is a team work and it's a shared responsibility.

In many ways, 'Lords of Chaos' is my first real movie. I went deeper with this film than any of my other movies. I approached my other films like I did my music videos or commercials, like jobs. But 'Lords of Chaos' I wrote myself, and it's a close, personal story.

On the 'Tom and Jerry's,' Joe and I would sit across a desk from each other and develop the story. Joe would do the storyboard and I'd do the timing and the direction of the animation.

Being on set is just a unique and surreal experience, and it's one I always dreamed about having. And then I had it.

Once you turn on the camera, making a movie is making a movie. I don't care if it's $9 million dollars or $50 million dollars. You have bigger toys, bigger set, actors who are better paid, but once you turn on the camera, it's director and performance, and I don't find a big difference.

The Braintrust developed organically out of the rare working relationship among the five men who led and edited the production of 'Toy Story' - John Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, and Joe Ranft.

The producing thing has come quite naturally to me. I feel like for directing, I would like to be more technically-savvy. I want to have the language under my belt, and I also want it to be a project that is very personal to me, for my first one.

I love to choose the right actors. It's kind of a pleasure to work with them and watch them imbue your concepts that you write.