Roy Conli Quotes

This is such a cliche, but I feel like filmmaking is a collaborative experience.

Having learnt my basics in theatre, I always feel film is a collaborative effort. If you do your part well and help the person in front of you in realising his or her potential, the film invariably comes out good.

I realized what you could do in motion pictures by surrounding yourself with geniuses.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

Necessarily, I'm always involved in casting, as any playwright is, because the whole process of putting on a play is a collaborative, organic effort on the part of a bunch of people trying to think alike.

It's amazing to be able to work with people right at the top of whatever they do... inspiring photographers and stylists with very interesting visual language. The more I do it, the more I enjoy it.

If I'm talking to a photographer, I'm talking to a stylist, I'm talking to a makeup artist, we're kind of creating and collaborating and making something that is artwork and is special and is different.

Film is not like a book; it's not a writer's baby at all. So many people have put in their talent, by that time that you feel grateful for what they've done, you don't feel possessive about it in any way.

If you respect the art and you have some talent about you, I'm on your team.

I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.

And I just want to work with good directors and good people.

You're working with models who are looking at their watch, and it didn't work for me. I wanted to have relationships with amazing people.

I had a brilliant time working with the entire cast and crew at 'Return To Nim's Island.' It's amazing how, after working on a film, you really become a family, and you build these really special bonds together.

I depend on good editors and a good director.

Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.

When I sign on for a project, I'm there to give the director all the material he or she might need to tell their story, and that's the number one priority.

Filmmaking is such a collaborative piece of art that you can't look to one person - you couldn't look to me, you couldn't say, 'Because Vin's in it, it's this or that...' It's really all of us coming together for that period of time to try and make magic.

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

I actually like the collaboration of working with different artists.

Magicians are typically introverted; they don't tend to work with others, but I work with software programmers, composers, designers, so it's a very diverse group and the result is always more interesting than something I could have done by myself.

Friends don't necessarily made good business or creative partners.

I would love to work with Tim Burton. I think we would be very good together.

I have enjoyed all the artists I've worked with.

I've always worked with people who have been supporters of me creatively.

What's great about making movies is the sort of additive process of bringing people together and having an idea and watching the idea be added to and at the end you have this thing.