Fawad Khan Quotes

One of those things that I like about TV is that if you get a group of people you like, you can work with these people for months at a time, and you can discover their strengths and weaknesses, and you can use those in the direction where you take the characters.

A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being.

Filmmaking is such a collaborative medium.

Every film is a human encounter. It's people trying to collaborate and create something together.

Bill Condon, I must say, may have been one of the best professional experiences of my life, collaborating with him. He, himself, is an Academy Award winning screenwriter. He is a storyteller first and foremost, so we speak the same language. We approach things always from the story.

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.

I think the best work flows out of a collaborative environment.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

I love creating partnerships; I love not having to bear the entire burden of the creative storytelling, and when I have unions like with George Lucas and Peter Jackson, it's really great; not only do I benefit, but the project is better for it.

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.

Making a movie is like an accelerated version of growing up with someone. You spend so many hours a day with each other, and you're putting your heart into this same effort.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.

In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.

Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.

I depend on good editors and a good director.

I know that I wouldn't mind going back to work if I could find the right script and the right crew to work with.

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.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

Everyone was very deeply involved in the world of 'The Lord of the Rings'. From the wardrobe department to lighting, all were fascinated with the story. This is something that does not happen usually.

One of the things I really love about TV is this symbiotic relationship you can get between the writers and the actors, and the characters start to come to life because you start to collaborate.

I really like writing television, and I like the collaborative writers room feeling. It's ten people, and you're together every day laughing your heads off.

Television and film acting is really fun because you are working with other people and you are not completely responsible for the outcome of the project.

When I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next.

It's much like writing a screenplay with someone else and that's how we view it, I think.