Marc Forster Quotes

Sometimes you read a script, and you just think, 'Wow, I would love to go and tell that story, and I don't even care what happens to the film, I would just love that experience.' And often, that mentality makes a great film.

I've never been that person who thought that because I've written one novel, I should write another and another. It's only when there was another novel to write that I was going to write another.

I find it inspiring and I always think when I'm working on something new, whether it's a new kind of character or a new kind of story or new kind of camera, it gets my creative wheels spinning.

Any carefully planned thing destroys the creativity. You can't think your way through a story; you have to live it. So, you don't build a story; you allow it to explode.

The most fun thing about being a writer is that everything is interesting.

In voicing so much is left to your imagination to create the world around you like that. It's really the essence of what's so fun for, I think, many people when they first start to want to be an actor, is that they realise they enjoy making up a world around them to exist in, a whole situation and a whole way of being. And even more so than theatre, animation requires that because there's just nothing to go on. It's in your head and your heart or it's not there at all.

I just like good stories. I like really interesting scripts, I love really great filmmakers. And I'm open to all genres and all stories. But, there's certain ones that attract me, and I don't really sort of look at what I think is going to be successful, I look at more so, you know, is this what I want to do regardless of what everybody else thinks?

James Cameron thinks we can do anything. He'll let you try anything. There are very few geniuses in the world, let alone in our business, and he's certainly one of them.

Because I'm a novelist, I think in terms of structure. The way I keep going is through structure. It's what inspires me and pushes me through.

I think it's really important to not talk about how you're going to release something until you've finished it. People are like, "What are we going to make? What are we going to do with it?" and it's just like, "I don't know, we're just making music. Then we'll talk." You can't always write something you're happy with; you can't force it.

Sometimes an old idea gets relegated to the back of the line in the mad delight of a new idea, one you've never had before, and that you write fast in the thrill of the new. No rules. Just stories, and you tell as many of them as you can.

I seem to like playing with form, and the superhero genre has an awful lot of formula to it. It has a lot of formula to it that I don't think it should be limited to.

The comic book, and I've said it before, is a treasure trove. It's a grab bag. We certainly have characters and story lines that we really want to do - but to get there in a TV series, you have to take your time. Sometimes you can't get right to it. They're two different mediums. So we make it our own and really own the material. I like to think of it as an alternate universe.

I think once everything is in place, once you've kind of wrapped your head around the story and the character, it's very liberating and you can start doing things like you would do.

My hope is that I'm going to continue to make more and more challenging work that's going to come out more and more interesting. I don't know if that will always continue to happen, but every one of my films has definitely been a progression as far as complexity of narrative, character, and plot.

I think being in a place where there is nothing happening is very inspiring because you have to make your own fun, you are not reliant on imitating any other bands.

I think you have to write what you want to watch.

Nobody knows what will work until they try it. Some of comics' biggest success stories in recent years have explored subjects that no one was writing about at the time - stories no one had any reason to think would succeed. My advice? Write what you want to read. You'll have more fun doing it - and if all else fails, you'll always have at least one loyal reader.

It's a great wake-up call for our entire industry: What movies are we making? What storytellers are we allowing to tell the stories? What people are we allowing to be cast in those stories? I think we need newer stories, and more people given the opportunity to do anything they want.

I trust my judgment when I think it's boring, dull, tepid and not interesting. That's important to listen to. And the same on the set. That's a little easier because you can see it in front of you and you can just see how great they are and you know you have something wonderful when they do something wonderful.

If I knew what the picture was going to be like I wouldn’t make it. It was almost like it was made already – the challenge is more about trying to make what you can’t think of.

I think brilliant stuff comes out of working with limitations. One liners are very limiting, but that's what drew me to them in the first place.

You don't try any less hard on the ones that don't. I've gotten lucky to work with some amazingly talented people that have helped the ones that have worked work. I think you just have to keep doing the stories you love and the characters that you love and are drawn to.

Sometimes I have good ideas. I love that part of our job. It's a constant process of searching, of exploring stuff, and realizing things. You can be in the middle of the film and it's like, "Oh my God! I think we need to do this! Maybe in this scene she should shave her head!"

I find that the more I depend on real life, the less interesting the story is. It's much more common for me to take something that almost-happened, or I wish had happened, and then follow that possibility.