Nicholas D'Agosto Quotes

What you do is get the right director and the right screenwriter and the right cast. It's a fantastic job.

I loved working on 'Donnie Darko.' I learned a lot from the cast, Jake Gyllenhaal and the producers. I love doing what I do because I get to meet so many great people.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

'Lovelace' was really great. I got to work with the wonderful Amanda Seyfried, Hank Azaria and Peter Sarsgaard, so it can't get no better than that, right? I had a blast, and the film is a very, very well put together movie - from the director to the writing the cast.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms, he does it in emotional terms. I got along really well with him.

I had a brilliant time working with the entire cast and crew at 'Return To Nim's Island.' It's amazing how, after working on a film, you really become a family, and you build these really special bonds together.

I really want to work with Hugh Jackman and also Steven Spielberg.

Making a movie is a lot of problem solving.

Dark Water was one of my favourite films to shoot because of Walter. I had seen the previous films he had directed, Central Station and Motorcycle Diaries, and I thought they were great. I really trusted him.

Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.

A script is only as good as the director who's making it.

A film set is really delicate and people treat you very very well if you're an actor because they want you to be as comfortable as possible for you to do your work, but it really is just one in a team of many and usually 150 people.

To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.

I usually hang out on the set. I get to know everybody. I have a nice time with the other actors.

It was a complex endeavor so without Robert Redford's constant support we wouldn't have gotten to the end.

Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I've been sending him information and items that have been useful to the writing process.

When you want to make a film abroad, you need producers and people who support you. You need a team that speaks your language.

I worked with Steven Spielberg on 'AI,' and his level of preparation was extraordinary. He told me there was a time at the beginning when he was a bit more spontaneous and went over budget, and it absolutely wrecked his head. When you look at the power and assuredness of his movies, it makes sense that he works out so much in advance.

Working with and collaborating with and for Peter Jackson was an incredible experience because he is such a phenomenal filmmaker.

The process of making a movie is what I love. I thrive on that. It's an exciting miracle, a mad adventure. I love being part of it.

Doing a movie is a stressful thing. You spend months of you life focusing into that one project, and I want to make sure I do something I really like or I'm really passionate about.

You can't direct without a good crew.

I would love to direct a feature and have Robert Connolly produce it. That would be really fab.

I usually shower the night before, lay out all my clothes on the floor, so then I just fall into them, clean my teeth, stumble out the door, get into my car and go wherever it is that we're shooting. You have breakfast on set.