Andrew Dominik Quotes

I think all my films have a different journey. Therefore, I take it as it comes.

A good director's not sure when he gets on the set what he's going to do.

I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can't. My attitude is always 'let it keep rolling.'

And as I've gotten deeper into the process of making films and television and such, I think I have more trust in the fact that you really never know what you're going to find after the twenty-fifth take.

We go in and I do my thing, and then we supplement it with whatever we want.

I never had any master plan about directing, and I don't really write.

I leave a lot open so I can fill it in later. If I don't have any ideas right away, I can fill it in later.

The reality about shooting films is that you can shoot many jokes and decide later which one works. So it's not worth fighting about jokes.

While you're making the film and working with the actors, if you want to have a little room to breathe and experiment and play, it grows, and you want that to happen. It's not enough to just shoot the script. You've gotta come up with new inspiration, as you shoot it. There's gotta be room for that and time for that, so it grows.

My directing style has changed over the years. I allow things to breathe a lot more.

Everybody is always trying to make the best movie they can. It's a process.

The writing is really hard. You're alone. It really pulls it out of you. You pull it out of your head. But when you're a director, you're shopping - you're picking this actor, you're picking this scene. It's like the most intense kinetic high-speed shopping of all time. You sit in a chair and it will all come rushing at you like a wind tunnel.

I learned that the best way to work is to allow the scene to live on its own before making major adjustments, whether in rehearsal or on film.

With directing, you've got to find something and drag it up from its inception, and I'm at the early stages of doing that again. There's something all-consuming and addictive about that.

You do a film and you know where you're going, you have this material to stretch and play with as much as possible because you know how it ends.

I'd much rather do one or two takes of one thing and then see how it goes.

You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.

I love how you can shoot a movie in a month or two or three of four, and it's this encapsulated story that you box up and ship out into the world, and what it is, is what it is.

As I got farther and farther along in the series I did less and less preparation. I didn't use outlines or sketches. I just had a vague idea of what I wanted to tell and then the dialogue just came to me as I was inking the page.

With 'Silver Linings,' I didn't feel - I was thinking of certain things, but I just said, 'Let me go with it.' You have to know what you're doing, where you're going with the scenes, and I put a lot of work into that. But when you're out there, at the same time you gotta be ready for anything.

I tend to plan as I write. And I want to leave myself open and the character open to keep on going until it seems to be the time to stop.

When I'm writing a movie, it's usually pretty close to what the movie is going to be, which is just a luxury of being a writer-director.

There are times when I'm driving home after a day's shooting, thinking to myself, That scene would've been so much better if I had written it out.

It's sort of one ongoing process where writing ends and directing starts.

It is Method on 'This is England;' it is. But it can't be Method on every job because it just doesn't work for everything.