Mark Millar Quotes

I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.

Some of the best art in the world is collaborative, a mix of voices that are stronger together than separate. Take the Beatles, for example. Or every great movie ever made. We like to say they're the director's vision, but really, they're huge collaborations between directors, writers, actors, even producers.

A good producer brings out the best in the artist he's working with. You shouldn't be able to listen to something and say, 'So-and-so produced this album.'

In a way, editing is not unlike the movies. The best books, just like the best movies, are a collaboration. They're only as good as the compromise made between the artists involved.

'Awake' was just the most beautiful show. For most of the shooting, we didn't know if they were going to air. You never knew. We were just trying to make it the best it could.

Sometimes two artists wanna work together, but it doesn't mean it's gonna happen, because you have to find the right idea.

I don't pay much attention to the press. My films always get good reviews and bad reviews. I just try to make the best film I can.

I'm just gonna make movies the best I can, do the festival thing or whatever can come. I plan on working with a lot of the same guys over and over again. I hope the majority of us can stick together.

I produce the way I would love to be produced: In ways to create the best conditions to make your movie, but also to create a space in which the director calls the shots.

Honestly, when you're making a movie, you never say, 'Oh, this one's going to suck and go straight to video.' When you're in it, you think you're doing the best work you can do. You're surrounded by people who are working hard. Everybody's hopeful.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

What's great about making movies is the sort of additive process of bringing people together and having an idea and watching the idea be added to and at the end you have this thing.

You always hope for the best when you put something out and try to make the best music you can make, but you can't control what happens after that.

You hope and pray that you'll get involved with a director that you understand and who has the same sensibility as you do and knows how to push you and bring out the best in you.

When I work with artists, I give them a general guideline of what my vision is. Then they're going to speak their minds on how they view it, too. The song that defines 'Neon Future' the best is the title track. I wrote that with Luke Steele of Empire of the Sun. It's through his words. We had an amazing songwriting session together, connecting.

You can scream at me, call me for a shoot at midnight, keep me waiting for hours - as long as what ends up on the screen is perfect.

I see my actors as my collaborators.

All directors have their strengths and weaknesses, as all actors have, and all artists. What you try to do is complete the relationship and take care of the stuff that the director won't take care of.

A movie is never any better than the stupidest man connected with it.

Having a connection and chemistry with a director is really key.

The fun part about doing our movies is that you're creating something using the talents of people rather than finding these pathetic people who are thrust into these situations. That, to me, is completely artless.

It's very important when you in the studio to be with a confident creative.

The vision people have of a director is completely flawed - someone with a crystalline vision of everything they're going to do. How boring would that be? It's a creative and collaborative process.

When I'm in a session with an artist, my job is to help execute their vision - so it's whatever story they're telling, and the news doesn't specifically affect that.

I see my songs and shows almost like a mosaic - part of a bigger picture.