Kevin Feige Quotes

To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'

The best films come about through experimentation.

As I get on and films take four years to complete, I tend to have a hankering for very short projects so you can move on to the next idea. It's the ideas I'm interested in. What comes out of your head.

I think of myself as a bad writer with big ideas, but I'd rather be that than a big writer with bad ideas.

...when you collaborate with someone else on something creative, you get to places that you would never get to on your own. The way an idea builds as it careens back and forth between good writers is so unpredictable. Sometimes it depends on people misunderstanding each other, and that's why I don't think there's any such thing as a mistake in the creative process. You never know where it might lead.

There are always a bunch of ideas floating around and I do the best that I can to try to not do them. The ideas don't go away and, over time, are finally like, "Okay, it's been around so long, I have to get this thing out," and it somehow ends up coming to some version of fruition.

I'm not a craftsman of graphics or art or film. I'm more of an idea generator and manufacturer.

As a director, you try to find what is creative.

When it comes to storytelling, not taking risks is riskier than swinging for the fences. I have very simple ambitions when it comes to taking risks in storytelling and programming. I try very hard to avoid the expected.

One day I had an idea for a movie. Everything came after that.

Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.

I would worry if I wasn't coming up with ideas, if I wasn't inspired.

I truly believe that cinema is a collaborative effort, and as long as I get to tell, and be part of, interesting stories and work with genuine people, I don't see any project as a 'risk.'

We encourage our people to build their ideas from scratch, and we give them the resources - and, crucially, the candid feedback - that are required to transform the first wisps of a story into a truly compelling film.

It is difficult to make movies on your own terms and also to make a film and convince somebody to have faith in it.

It's a tremendous challenge, because there have been so many characters created over the years. Every time you think you come up with a great name, you find out somebody has already done it. Dreaming up the stories isn't that hard, but coming up with a good title is the toughest part.

All of my films have been very hard to understand at the script stage because they're very different. At the time I did them they were not conventional. The executives could only think in terms of what they'd already seen. It's hard for them to think in terms of what has never been done before.

The danger with success in television is "Haven't we shot this episode before? Didn't we shoot this scene two years ago?" I think it's really hard to just take the risk from season to season and not be afraid to give the audience something completely different, and trust that they'll come with you.

Every great thing starts with an idea, followed by a doubt and finally a resolve to abandon or pursue. Victory is a treacherous journey.

I can't really say - if I've run out of ideas until I've had my next set of ideas.

When we have a brilliant idea, instead of making others think it is ours, why not let them cook and stir the idea themselves.

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.

If I have an idea I want to put in a movie, I know what camera will make that look best, and I have ideas for future projects and stuff I'd like to build for those. I think it's just part of how I work, though.

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 is an error common to many artists, who strive merely to avoid mistakes, when all our efforts should be to create positive and important work. Better positive and important with mistakes and failures than perfect mediocrity.