Dominic Monaghan Quotes

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

I've worked with some really great directors, and I'm really choosy about them because they're telling the story at the end of the day.

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.

Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.

In the life of a director - these days in particular - when it really does take so long to do a movie, with a few exceptions, actors may never work with a director again, even if they're great friends.

A lot of directors don't really like actors.

The first thing I ask when I'm offered a part is, Who's the director? which is something they never understand in Los Angeles.

Frankly speaking, it's only the script that matters to me the most. If I like the script, then I just commit to myself and go ahead with it. But I also look at the commitment and confidence of the director of the film because it's him who will shape the film.

I realized the exciting place was behind the camera with the producer, director and so on.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

Working with and collaborating with and for Peter Jackson was an incredible experience because he is such a phenomenal filmmaker.

A movie is never any better than the stupidest man connected with it.

Sometimes it's the script or an opportunity to work with an incredible director.

I pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.

You can start with a great director and great actors and have a great script - and it still just doesn't work. It's kind of a mystery how that happens.

As a director, it just makes my life fantastic to work with people like Elizabeth Hawthorne.

I am very pleased to be working with director Woo.

I am very much open to doing cinematography for any talented filmmaker, if the script is good.

I would even commit seven years to a film for Rajamouli.

I would love to be able to get behind the camera and direct actors. I think that would be a lot of fun.

I can easily say "no" to a project if the script isn't great, but when the script is good, then I start asking the other questions. Who's going to direct it? Who's the creator? Who are the actors? When are we shooting? Where is it shooting? All that kind of stuff.

It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.

Film is a collaborative process, absolutely, but I am a control freak.

The filmmaker is really important to me: it could be their first film; it's not just about their reputation, but I have to really believe in them.

I grew up on movie sets, I'm comfortable on sets. A movie set is like a circus. I don't understand why moviemaking has to be such an insane environment.