Duncan Jones Quotes

No great television show has ever rested on just one person. They're all about great ensembles and storytelling.

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.

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.

In the case of 'Jack Ryan,' it was a huge collaboration, and I enjoyed it very much, and most of all, I want the audience to enjoy it, too. I want them to feel immersed in this world.

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.

Sometimes it's less about the character and more about the story for me. I'll play a rock in the background if I think the story is fantastic and I can be a part of it somehow. That's what I look for.

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.

So if you want to have a great video game-based movie you have to keep the mood of the game, use the normal character setup - but you have to flesh out the story and provide more background for 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.

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.

The key is to work with people who are passionate about storytelling and who have a similar sensibility of the type and nature of the stories that you want to tell.

Writing is a solitary existence. Making a movie is controlled chaos - thousands of moving parts and people. Every decision is a compromise. If you're writing and you don't like how your character looks or talks, you just fix it. But in a movie, if there's something you don't like, that's tough.

With any of the movies I've had a chance to do, or any of the TV shows I've had a chance to contribute to, people approach me and say, 'Hey, would you like to do this?' I laugh out loud and say, 'Yes, that'd be funny.' Or, I'm very moved by what I read and say, 'Yes. How can I help you?'

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

It's good to work with a writer-director.

There's no reason to think Disney is going to stop wanting to make 'Star Wars' movies if there's quality and there's interest. It has unlimited potential. It has a huge number of characters, worlds... It's a massive playground.

It has taken some time, but I know I've put my trust in the right team, and I'm excited to collaborate with Universal Cable Productions and Benderspink to bring 'Dreadstar''s unique brand of chaos to television.

You're right, we both have been working on these films [Kung Fu Panda] forever and we know these characters so well that literally we will react to the same note in the same way. We will have the same answer most of the time.

I like working with writer-directors because you can solve problems right there.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

I love great writing. I like interesting characters. I like to work with people who push me to be better, to elevate my game.

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 have great editors, and I always have. Somehow, great editors ask the right questions or pose things to you that get you to write better. It's a dance between you, your characters, and your editor.

When you act in a film, you're inevitably surrounded by people you didn't choose, right down to the set painter. I like being able to pick the family I'm waking up to in the morning that's going to make this group effort to tell a story that applies to what's interesting to me at that stage in my life.

The first and primary requirement for me in a director that I'd want to work with is: do they love writing, and do they love the collaboration process with writers?