Brie Larson Quotes

I've worked with directors who have done it too much, particularly in television, you know, 'okay we got it, let's move on, next setup.' 'Well what about, we could maybe investigate?' 'Mmm… no, let's go.'

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.

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

I love working with actors who will just go, 'Oh O.K., let's try it and see where it goes,' and 'Let's see what we can discover.'

My absolutely favorite time of working on a project is the time I spend not knowing what it is. Because the longer you live inside that period, the likelier you are to discover something new.

Writers get embarrassed sometimes in talking about how much fun writing can be, but drafting is often really enjoyable. Often, you're tumbling in the dark, and you don't know where the story is going to lead.

I can't imagine directing from someone else's script.

I wrote 'All is Lost' while editing 'Margin Call'. I did that long before I knew if I was ever going to get to make another movie.

I love involving actors at all levels - and they have to know that I want to hear their contributions, with dialogue, with story suggestions, with script changes, whatever.

There's so much happenstance, so many accidents - stumbling into something and finding it interesting and living with it over time and building on it. It's okay to work from doubt. You need to be willing to not know.

There's no way to really mock up or simulate what I'm doing until I'm there. An exhibition for me is not a statement but an experiment.

I love the intimacy and the passion and the danger that go into independent filmmaking. Because it comes out of a creative necessity. It comes from people who really want to make a movie and want to make a difference and want to grab an audience by the gullet and show them something different.

I feel that when I began writing, I had a need to know more about the play before I got into it. I think that's the way I was thinking. But my actual experience is that the best way to find out what the structure is, is by writing the play out laterally. You just have got to be brave enough to start without knowing where you are going.

I consider my job as a screenwriter to pack a script with possibilities and ideas - to create a feast for the filmmaker to pick from.

I think that every artistic venture is a risk, and it has to be that way, so you do as much preparation as you can and make that as thorough as you can possibly make it, until you turn up on set. It's about taking risks, and some might work and some might not, but that's what makes it interesting.

I think one of the privileges of being a filmmaker is the opportunity to remain a kind of perpetual student.

All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.

We try to guide with a light touch. Sometimes we can be helpful, and my goal with my team, both on the series side and on the film side, is that the collaboration should always be invited. In other words, we're not looking to impose our view on the filmmaker; we hire a storyteller because we love the story, and we love their ability to tell it.

At the beginning, everything's possible and everybody gets equal time, all the characters, all the ideas. You don't know who's going to be the main characters; they're all fighting it out. It's like kind of the best time in a way.

I'm not like J.K. Rowling, where I know there's going to be this number of seasons, and I know exactly what's going to happen. I would be so bored if that was the case. There would be no journey. There would be nothing to discover.

Producing a series is like being Lewis and Clark: You know where you're going, you just don't know how you're going to get there. When people say, 'You should create a bible for your show,' I say, 'You don't want a bible. It'll prevent you from making discoveries along the way.' And that's what happened on 'The X-Files.'

A film goes through so many hands, that by the time it's done, it might not resemble what you thought you were making.

I think what's so great about making your first feature film is that you're so naive in some ways; you don't know what to expect, and you don't question things as much because you're just trying to figure it out as you go.

The worst thing you can do as a comedy director is be on set and think of something ridiculous, or an actor comes up to you with something ridiculous, and you say 'No, no that's too much.' Let's not worry if that's too much, let's shoot it, and then decide if that's too much when we see it.