Rhys Darby Quotes

What I did was I completed the half-hour film, but before really showing it, I wrote two more sections for a potential feature film which I didn't think would really happen, but at least I had it in case.

I developed that for a long time. I also developed 'Sugar Sweet Science' at New Line and that didn't happen. That was a boxing movie. And between all that there were a couple of other things.

A TV show is constant work, which is the great thing about it.

I don't know much about writing a show or being a show-runner on a show, but I can only imagine that when you first cast a show and you first do a pilot, there are so many components that you're throwing into the mix and you're not sure how they're going to develop.

If the story's interesting and it's a compelling script, I'd be thrilled to be a part of it.

I've ended up working with Disney a lot, which is kind of peculiar. In theater, I've done a couple of projects with them and written a couple movies and whatnot.

In every writers' room I've been in, the first 15-20 minutes of the day are spent discussing water cooler moments from last night's big shows.

I worked with an indie filmmaker called Mark Williams, a lawyer who was making a zero-budget family drama called 'Move Me.'

When I was doing 'Baahubali 2,' the story was being discussed with many people. The story evolved over 9-10 months in that way.

There are a couple of stories that I have in my head for which I feel like I should collaborate with people. So yes, if I would like to direct, I would also like to write whatever I direct.

I've been fortunate to work with partners like Weinstein and John and Art Linson in developing 'Yellowstone' and am grateful that it has found a home in the Paramount Network. The show is both timely and timeless.

We got together as a group to come up with the idea for 'Toy Story 3' in the same cabin where we dreamed up 'Toy Story.'

Mike and I figured out a lot about the world, characters and story in the initial two weeks between creating 'Avatar' and pitching it to Nickelodeon.

Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.

I'm a writer-director originally from Rhode Island, now living in Los Angeles. I've spent the past eleven years working with a writing partner, Joni Lefkowitz, and am now making the transition into feature directing thanks to this script we wrote together and our incredible producer Jordana Mollick.

After our successes on 'H+,' I'm thrilled to be returning to another digital endeavor with Bryan Singer, Jason Taylor, and the entire Bad Hat Harry team. We're excited to be building the foundations of our world with Rockzeline and Blackpills.

Most of the time I've worked with directors who write their own scripts. The story is more important to me than the part. The project of the film has always been more important to me.

So I'm happiest when I'm working with artists and writers, and involved in stories, whether we're talking about animation or movies or comics or television.

I'd love to do writing for Hollywood.

I watch 'Watchmen', and I wish I was in that writers room, so I could figure out what they're doing, story-breaking-wise. I've never seen a television show like that.

I listened to the script of 'Carbon' at the end of 2014. I liked it the moment I heard it. I wanted to do it.

In all honesty, I've written movies that have been made, and the process has not been as satisfying as writing for television.

There were a couple times when we started working out the stories - and I was doing this with Jim Vallely and our friend Dean Lorey, who was on the show originally - and we were working on a movie. There would be some fan fiction things that would scoop us. It happened a couple times, where I thought, "Well, we can't do that!"

You know, because you outline a movie, it kinda comes at the same time. I mean, there are days when you are just concentrating on 'ok, let's worry about just comedy today,' and there are days when you're like 'you know what, we gotta just beef up the story.'. But, it's not like process wise it's that technically separate. One informs the other, so they kinda all happen together ideally.

Every morning for, I don't know how long, I came over to Alison's [McGhee] house and we sat in her office and wrote the stories "out loud" together. We yelled at each other and made each other laugh. It was a lot of fun.