Mahira Khan Quotes

In the life of a director - these days in particular - when it really does take so long to do a movie, with a few exceptions, actors may never work with a director again, even if they're great friends.

In film, it is always collaborative, and so to me, it doesn't make sense to not be collaborative in one of its most critical arenas - which is the screenplay.

I grew up on movie sets, I'm comfortable on sets. A movie set is like a circus. I don't understand why moviemaking has to be such an insane environment.

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.

We're talking to New Line. They've got a couple projects they're interested in me doing and I'm having meetings at MGM. There's a lot of available projects.

Films are not mathematics - that's the first thing you need to understand. At least, that's how I feel. They are not words on paper. Films are made with people, with teams and with individual bundles of creativity coming together to fulfill the vision of an individual who is the director of the film.

I only want to work with interesting filmmakers.

Movies are very hard to make, to get it all to come together. So many people have their say in what the end product of films are.

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

I've been in the game long enough to know what elements you have to package together to get a movie into production.

Movies are the work of a collective conscious. It takes 500-800 people on a movie to complete a vision.

Working with and collaborating with and for Peter Jackson was an incredible experience because he is such a phenomenal filmmaker.

Over the years with movies, I've given directors notes.

I have a relationship with New Line, so I'm grateful to them for taking a punt on me - both for 'We're The Millers' and 'It'.

Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.

It is so hard to get movies made in Hollywood that you got to have six going at once, and you know, probably none of those get made.

After you shoot a day's work, you gotta see rushes, and then you have more meetings with the budgets, with your producers, with your designers. It's never-ending.

I love the process of working with a filmmaker and the writers and the actors.

Many directors are approaching me with good scripts. I will concentrate on production and music.

I probably won't direct the stories I am writing but will star in them.

I'm a writer-director originally from Rhode Island, now living in Los Angeles. I've spent the past eleven years working with a writing partner, Joni Lefkowitz, and am now making the transition into feature directing thanks to this script we wrote together and our incredible producer Jordana Mollick.

It's rare that a character film is easy to fund.

I don't want to boast about any contribution, but I was part of the group of people who toiled for the film industry.

We used to take two years to complete a film, and sometimes, we used to be told on the sets that the scenes are still being written. Everything today is pre-planned.

Sometimes, there is a long gap between the time the script was written and when it went on the floors. Being on the sets can be refreshing, as you can revive the script in some ways.