Keanu Reeves Quotes

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.

I guess I'm a good manager now. Moreover, I'm loving the concept of donning the producer's hat. It's all very exciting as well as a great learning experience. You're a part of a film right from its conception to its execution, and that's an amazing feeling.

It was actually Peter's idea that I should make the film. He called me in the very beginning, and I hadn't even read the book. So I read it and I liked it very much and I knew I'd certainly like to do it.

'The Bank Job' was great fun to work on. Roger Donaldson is a top director, and working on HD was a new experience. It picks up every detail, which is a blessing and a curse if you think about it.

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

Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.

Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.

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.

A great movie evolves when everybody has the same vision in their heads.

Making 'Beloved' was an awesome experience.

I don't miss scenes at all the way that I used to miss them when I was younger making a film. It's actually quite fun to get rid of them now.

I love creating partnerships; I love not having to bear the entire burden of the creative storytelling, and when I have unions like with George Lucas and Peter Jackson, it's really great; not only do I benefit, but the project is better for it.

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.

Making 'Coraline' was one of the great filmmaking experiences of my life.

In making films, you're dealing with hundreds of people and a crew, but eventually, it's you and an editor, and that part of it, I liked it a lot. The experience on 'Up in Smoke' was great. I really enjoyed it.

Well, we played with Soul Coughing once for like two days, that was pretty cool. I mean they were all good, you can pull a great experience from everything.

You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.

And I have the support of the writers: I have a great relationship with the creative team, and they have a good hold of my character and my personality, and they come up with some great stuff, and I'm forever trying to change it up, keep it fresh.

So I've had really great assistant directors for my last seven movies.

The truth is, when I started to make films, I was terrified. I had a huge difference in what I was writing in the screenplay and what was on the screen after. Sometimes there was a big gap. Now, the more I have experienced, the more I do movies, the more I feel that the dream is closer to the screen. It's coming with experience.

I allowed the scriptwriter to come to my parties for research and it's a good thing he did otherwise I don't think Personal Services would've been so good.

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.

My long-term plans are just to get as much experience as I can in Australia and try to make my own films.

The filmmakers always have a great level of control.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.