Jeph Loeb Quotes

For me, always, the big inspiration really comes from talking with my creators, my showrunners and my producers, and seeing what is their vision for their project.

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.

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 just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.

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

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.

Steven and I have worked together a lot and I'm far ahead of the curve than most people in knowing what he wants, but he knows far more than I know about what's important for the story. So, most of the changes he will make will involve story changes.

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.

Basically, I see myself as a maker of things who knows how to support other makers of things. At the end of the day, I am just committed to helping put good stories out into the world in whatever role is appropriate and needed for that particular project.

Film is a very collaborative medium. If you're smart enough, you learn how to maintain your vision while drawing resourcefully from all the people around you.

I like to come to the set with very strong ideas and strong opinions about how to do things. And I like also dealing with somebody who's like that.

My career has gone in such a way that I've gotten to learn that, when you're working with a great storyteller, you don't ask questions; you just trust them.

You have to have that core creative team around you who's going to support your vision, and challenge and evolve it.

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

Mike Schur knows exactly what everything should look like but, at the same time, is super collaborative and loves working with actors that make choices and bring stuff to the table.

I try to just focus on what feels right to me when I am conceiving it, conceptualizing, designing, etc. and then talk it through with the team and listen to what they have to say. This kind of thing is a team effort, and working with a great team is the most important part of filmmaking for me.

I just can't say enough about the actors having faith and trust in the writers and the writers having faith and trust in the actors.

The director is the ultimate creative arbiter of what's going to happen. And as a director myself, you really appreciate collaborating with people who are trying to help you find what you need and what you want.

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.

You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.

I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.

Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.

I depend on good editors and a good director.

The director in TV and the writer and the creator are working very much hand in hand.