Thomas Middleditch Quotes

Turns out, what I love doing is making games. Not hyping games or trying to sell a lot of copies. I just want to experiment and develop and think and tinker and tweak.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

The truth about filmmaking is you have all these ideas and you're trying to convince everybody that they should buy into this idea, but at two o'clock in the morning when you're all on your own you're going, 'Geez, I hope I know what I'm doing. I hope this idea is gonna work.'

Fashion is much more collaborative than one might think. You have to have an idea and vision, and you have to communicate that vision to a team of people, and you have to create an environment that allows those people to give the best that they can give.

Game design is a funny thing. There are people out there who are really good at it, but it's not clear that they can teach it. It's a very intuitive process. It's an art.

When I sign on for a project, I'm there to give the director all the material he or she might need to tell their story, and that's the number one priority.

I just want to stay creative, share my ideas and see where it all leads.

I've got to be out doing a million things. That's how I find stories. That's how I get the relationships and get the projects that I get with the writers, the directors.

Basically, I see myself as a maker of things who knows how to support other makers of things. At the end of the day, I am just committed to helping put good stories out into the world in whatever role is appropriate and needed for that particular project.

But I'm blessed to work with great people. I collaborate with brilliant stylists both here and in Paris. I work with a great design team. I really allow everyone to bring their ideas. I almost rely on them to inspire me.

I might be like a conductor, or I collect the stuff together and I do a lot of my own writing. But what is a pleasure is the whole creative thing in which we're all excavating and trying to find something.

I love working with young people and young filmmakers, and I love working on first films. I think it's cool. It's fun. I just take it as it comes.

My career has gone in such a way that I've gotten to learn that, when you're working with a great storyteller, you don't ask questions; you just trust them.

I would love to just keep working with really great directors who really inspire me.

God of War' was a 40-60 person team. It was a lot of very different, very passionate, very crazy people.

I want to be around people that are just as enthusiastic about the process and storytelling as I am.

It's always an amazing gift to be able to work with storytellers who 'get it' and who can not only draw anything but can draw it better and more dynamically than you'd ever envisioned.

I've had the tremendous fortune to work on games like 'Life is Strange' and 'Horizon Zero Dawn', where there was a lot of collaboration between me and the developers.

A lot of my creative ideas begin in the pub, talking through possibilities with collaborators.

Who wants to put together something that will bear some relationship to the vision or memory or experience or story or idea or dream or whatever.

It's been really exciting to work on a collaborative, creative team where we got to bounce ideas back and forth and figure out the best one.

To create something new is both thrilling and excruciating at the same time. It's great to have all these choices in front of you, and to have the writers in the room so you know exactly what they meant. But the downside is you want so badly not to screw it up!

People sort of imagine Chris Morris and me sitting somewhere dark, with dripping taps and chilling background music. In fact, we like to sit on his roof in the sunshine - and there's an endless amount of just sitting there, going, 'So, erm, er, what shall we do?'

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

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.