Keira Knightley Quotes

He wasn't directing it, of course, so I didn't work with Hitchcock.

What you do is get the right director and the right screenwriter and the right cast. It's a fantastic job.

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.

I co-wrote and produced 'Sticky Fingers' with Catlin Adams, who directed it. I learned a lot writing and producing with Cat. I spent as much time as I could in the cutting room with her. All the producing experience that I had helped.

Nelson McCormack on 'Killing Kennedy' was really terrific because I wrote the script, and he had some terrific ideas. We went over the script together, and I was with him on set. So it was a collaborative effort.

When you write and direct your own film, you basically know exactly what you want. Or you hope to. For the studio, it actually can make life a little easier, because if you have a bunch of questions, they only need to call one person.

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.

For me, every film is like the first picture. I am very choosy with the director and producer.

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

[Stanley] Kubrick was a fascinating, larger than life guy who had been a friend for many years prior to our working together on that film. I found the best part of working with him to be the long conversations we had between set-ups.

When I say that it's taken us [with Luca Guadagnino ] 11 years to make this film, what I mean is that it was 11 years ago that we started to talk about a kind of cinema that we wanted to make together.

I had more trouble than I had a sense of utility or satisfaction. But it served to occupy me and to keep me occupied in a field that I love - which was cinema - while I was waiting to realize the film that I wanted to do, which was Once Upon a Time in America, which took ten years of thinking and working to realize.

First, there has been a lot of interest in The Drive-in, but, alas, it hasn't actually come to fruition. Maybe soon. Don really got Bubba and I didn't think it could be a film. I thought it was too odd to make it to film. He asked me to do the screenplay, but I declined. I didn't see that it could be a screenplay but he wrote one and proved me wrong. He was always considerate about what I thought about the film and the story's presentation, but in the end, he's the director and he had to make decisions. All good ones.

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.

I think one thing for sure that you learn the more films that you make is how important it is to choose your collaborators.

I was very fortunate in having David Fincher, the director come to me. Now I've seen the finished product, I feel that every bit of the nine months we spent on the film was worth 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.

He was an amazing - John McTiernan really was an incredible director, probably the best I've worked with because he constantly busted me when he wasn't getting what he wanted.

It's not just about acting. I love film, I'm a director now, I love writing, I love producing, I love having a company that makes films and to be prolific and have a place to put all the ideas that are constantly bubbling up inside of me and that don't let me sleep at night.

Hugh Wilson made it so real and he took us and it was almost when he was directing it, the way he would do it was funnier than the way we did it. And I just developed a regard for him that was unbelievable.

The filmmaking process is a team effort. A screenwriter cannot possibly do exactly what he wants as if he was writing a novel.

The great thing about being a producer on a project is that you get to see the ins and outs of every piece of the puzzle. There are so many elements involved in every aspect of a film's development that I don't think the average person is aware of, which is, I guess, why the whole process is referred to as movie magic.

It took 17 years to get 'Rambling Rose' made from the time Calder Willingham wrote the script adapted from his novel. Ed Scherick, the producer, was interested in it. Martha Coolidge was interested in directing it.

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.

It was a complex endeavor so without Robert Redford's constant support we wouldn't have gotten to the end.