Jack Nicholson Quotes

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.

There are directors that I want to work with and that I admire. You can love a script, but if it doesn't have a good director, it won't be that.

Schepisi is the sort of director who could, would, and frequently did phone me whenever he came across a textual problem.

Suneel Darshan is the kind of director I'd want to work with repeatedly.

I go where the material is, and I feel like I'm looking for really strong directors. That's the key ingredient. There are some directors I would move the sun and earth for, or stop the rotation of the planets, just to work with them.

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.

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

I would love to work with Cameron Crowe; he's definitely one of my favorite directors.

I get involved with projects based on three parameters - the script, the actors involved and the director.

I love Malcolm Lee and jumped on the opportunity to work with him as a director.

I would love to direct a feature and have Robert Connolly produce it. That would be really fab.

Sometimes I've done small parts, like with Spike Lee, but it doesn't matter because you want to work with the director.

I wanted the opportunity to work with Judy Davis and Simon Wincer.

I am open to working with new directors as long as the script excites me.

In animation, there's not a medium I believe that's more collaborative. It is a team of people, of different disciplines, coming together. The decisions are made by consensus in many cases. My job as a director is to exercise the best judgement I can in terms of which decision is the best one to make for the movie.

The things I'm most excited about are projects I'm producing. But if a director I'd love to work with calls, I'm always game.

I only produce directors and movies that I have a lot in common with.

I started working with James [Schamus] early on, and my role as an executive producer was more about being involved in the conversations of putting the film together. I didn't have to do much work because James is the most experienced first-time director you could imagine.

It was a great circumstance when I received the script of [Chloe] and Atom [Egoyan] said he wanted me to do it. I was inclined to say 'yes' immediately.

If someone were to hire me for a film they'd be getting a certain kind of package, that's for sure, a certain set of tools. But I would listen to the director.

David Ayer was put on my map, at that point, and I always kept note and clocked his career. When he started directing, I saw Harsh Times, I saw Street Kings and I saw End of Watch. I gave my agents a list of directors that I wanted to work with, and at the top of that list was David. I wanted to have that experience.

It just so happened that J.C.[Chandor] was a first-time feature director, and his script was exactly the kind of thing we were looking for.

A director on a film really sets the tone of how people go about things, so everybody is happy to be at work and everybody does their best.

I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.

On a movie set that works, you have your father figure, the director, you have your siblings, your other actors.