Jason Katims Quotes

I had always been interested in screenwriting, ever since I could write things down as a child. Obviously, I started as an actor, professionally, but screenwriting was always something that I had a great interest in.

Getting your screenplay right is the most important thing you'll ever do on your film.

There's as much great authorship in the filmmaker community as in the literary community, and I'd love to welcome more filmmakers into the fold.

God bless McNally, it's got some fantastic stuff in it, but it's no easy task to make a movie out of.

'Unforgiven' is probably an example of a script that I liked right away but thought, 'This is great, but I'd like to do this when I'm older.' So I stuck it in the drawer for ten years and then took it out.

There's one great script that hit my desk that I didn't change at all, and that was True Romance.

I'm a writer-director originally from Rhode Island, now living in Los Angeles. I've spent the past eleven years working with a writing partner, Joni Lefkowitz, and am now making the transition into feature directing thanks to this script we wrote together and our incredible producer Jordana Mollick.

So, yes, I wrote a script called 'Ben Is Back' that I got to make with a bunch of remarkable artists and craftspeople.

It was somewhere in doing the last season of 'Leverage' that John Rogers and I became confident that we had developed an all-new production technique where we could put more on the screen with very little money. So we started to get more comfortable with the idea of trying to tackle 'The Librarians.'

I opened the script to the 'The Wall,' and 15 minutes later I was done with it, and I loved the movie and wanted to be part of it.

I would love to go off and do a movie with Judd Apatow or do another 'Mean Girls,' but to me, it's whatever the story is.

There are many great writers out there and, actually, great scripts. The problem is - and this is what I've always felt, even when I got out of school and started reading scripts - the really smart, character-driven stuff tends to be smaller films, and they just don't get made.

Lots of movies don't kind of work as well as they do on the page.

I take time to write my script, if I have more scripts, I will make more movies.

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.

I've ended up working with Disney a lot, which is kind of peculiar. In theater, I've done a couple of projects with them and written a couple movies and whatnot.

It's good to work with a writer-director.

You can't just express yourself and it becomes a movie. You have to get beyond that.

I know 'Dabangg' has some pre-requisites. Every film has some requisites that you have to fulfill. I sat down with my writer and discussed what as an audience I want to see in the second part of the film. We worked towards that and we hope what we thought connects with the audience.

I was a history major, but that was because it took the fewest requirements of any major. In my sophomore year, I started getting back into making movies. My senior year, I took playwriting classes, and I feel like that's where I learned to be a writer.

I am open to working with new directors as long as the script excites me.

The movies sort of tell you what they want to be as you're writing them.

I worked with an indie filmmaker called Mark Williams, a lawyer who was making a zero-budget family drama called 'Move Me.'

When I was doing 'Baahubali 2,' the story was being discussed with many people. The story evolved over 9-10 months in that way.

I sent 'Hell or High Water' to Peter Berg, asking if he'd like to be involved.