Alan Tudyk Quotes

Everyone feels a sense of ownership in creating a Lynn Shelton movie. Lynn chooses amazing people - including the crew. Every person there is committed to making the film the best it can be.

I started developing 'The Revenant' before 'Birdman.'

I like hearing from everybody and not just my co-screenwriters or producers. For example, while on set, I find it valuable to turn to my PA and ask, 'What do you think? Is this scene working? Do you like what you see? You got any ideas for that line there because that idea isn't working for me.'

The experience of shooting a film is about the script, the captain of the ship who is the director, and the way they push their actors and teams to give their best. It's not about the language and the region.

Directing Mr. Mohanlal was a delight. He's completely there and wanting to know what you want him to do. He's very keen on making sure the director's vision is realised.

I liked the whole process of creating on set. It's almost like creating magic. The work that the camera guys are doing at the same time, the lighting... all of the people working in their departments to make one thing.

Denzel is the type of director that its more about working with him than working for him. He wants you to be thinking about everything.

I always enjoy shooting for all my films.

It's been a dream to work alongside the talented team at Lucasfilm and ILM to make advancements and improvements to the filmmaking process to help tell stories more efficiently.

Once you turn on the camera, making a movie is making a movie. I don't care if it's $9 million dollars or $50 million dollars. You have bigger toys, bigger set, actors who are better paid, but once you turn on the camera, it's director and performance, and I don't find a big difference.

I'm well aware that I have put my actors in difficult positions because of my vision, but when they see I work for the betterment of the product, they understand the pain I put them through.

Many times, what's in the script doesn't make it to the film these days, and when you choose a job, you take it based on genre and whom you're going to work with, if you believe in them.

I loved working with Renoir on 'The Southerner.' Oh, I loved it! I particularly loved when he had a scene with a cow going through a garden, and he wanted a little dog to come and bark at it and chase it out.

In the earliest days of Pixar, when we were making 'Toy Story' and 'A Bug's Life,' we all came together as a group.

My work on titles was a marvelous opportunity to learn about filmmaking. I think I touched on just about every aspect of the process, both creative and technical. And I worked with many wonderful people.

The most fun about working with special effects is that you have to really rely on your imagination to build the scene. You can't actually see how what you're doing will fit in ultimately and you look silly while doing it but when you see the finished product it becomes something amazing!

The whole thing of working in collaboration with filmmakers is the thing that I love the most, and possibly the thing I do the best.

I started working with James [Schamus] early on, and my role as an executive producer was more about being involved in the conversations of putting the film together. I didn't have to do much work because James is the most experienced first-time director you could imagine.

It was a pleasure to have somebody else be the boss. It wouldn't have been nearly as much fun any other way. He's been around and made a lot of movies and he's a great straightforward person to work for. And it was a pleasure to see other people to pick up characters that you've sketched out loosely on paper and make them into something fascinating.

You're collaborating with people you don't even know, when you're making a film. You're collaborating with people you've never seen. So, the collaborative process is very, very different than when you're collaborating on a record with the musicians you've worked with all your life.

There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.

There's a film you write, there's a film you shoot, and there's a film that you cut - and they're all different.

When you're making a movie, you feel like a very small part of something that you really don't have much influence upon. You roll in, you do your thing, and then you're gone.

On the 'X-Men' films, people are always throwing out ideas and trying to get the shot to look the best and make the most sense, and to get it done efficiently. Everybody collaborates and everybody is very open to new ideas.

When I start a film, I can sort of shut my eyes, sit somewhere quiet and imagine the movie finished. I can imagine the camera angles, I can even imagine the type of music. Without knowing the tune, I can imagine the type of music it needs to be.