Joseph Kosinski Quotes

Just learn the whole script before you start shooting. That makes shooting a joy. Even if they rewrite, it's easy.

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.

Well, that was certainly - to me, until we could film in Charles' room, I didn't even want to bother filming anything else. And in fact, I did hold off and that was the first thing we filmed.

When your in the movie business you have a start date and a stop date.

You have to pace yourself. As a producer, you start with a concept and shepherd it through the script to the delivery of the film. It's a very long journey for an hour and 40 minutes of movie.

When you are writing and directing and producing, there is a lot of stuff to do. I like to finish one; then while I am editing, I will think of the next one.

Even as an actor, much before I turned director or producer, I was somebody who was very involved with every film I was doing. I would pretty much be a part of a project from the time they toss the ball to the marketing. It's very simple.

The screenplay is a great document because it makes you have many discussions prior to actually being on the floor.

I've learned more, and I understand the process a bit better now. I can try to see how long I want to take in each aspect of the filmmaking process, and then arrive at around the two-year end mark.

It's very, very rare in this business [moviemaking] where a script lands on your lap ready to go.

The biggest mistake I made was not having a full-time producer. I was securing locations and wardrobe and making sure people get called to show up on time and getting the film to the lab and getting the camera, and all this stuff that I'm happy to do, but if I'm doing every little thing, I'm not concentrating on my story. So it never gets any better than the script.

A lot of times, when I'm approaching pre-production and my job, and trying to research and work on the script and whatnot it's always different.

I heard, one of my producers told me this story where like the Hollywood studios brought all these high-end consultants in to try to figure out how to improve their process and make films more efficiently, and these consultants like studied the process for years and finally came up with this report they put together about how studios can improve the efficiency of their process, and the conclusion was "have the script ready by the time you're shooting.

As filmmakers, you're not working on just one project, you're producing something, directing something, shooting something, and so it becomes hard to do it by yourself.

I don't necessarily want to direct because it's too much work and I don't have the attention span to stay with it that long. But I think getting everyone together on something that appeals to me and developing the material is something that I like to do.

Well, we try to - we definitely try to have a balance. And I think things have gotten a lot better at Pixar. When we did "Toy Story," that was an all hands on deck situation that really was time intensive.

Once we start shooting, it's in there. You're trying to get into a place where you rise to the work, rather than make it manageable or make it work for you.

I think you never want to have to go into the scene having to improvise; you want to make sure its working on the page. But I do like to have the ability to try stuff just in the moment, to give it some sort of spontaneity.

You sort of can't talk about the post production unless you talk about what comes first.

I had the luxury of working on the script with Andrew [Dominik] for a good year before the film started, so I was already intimate with the story [of The Assassination of Jesse James] and felt quite prepared walking into it.

If I had a script that I was ready to shoot tomorrow, I'd work on it every day until we got into production as soon as possible, but I don't have that script yet, so I'm trying to find and support writers, really young writers and hopefully come across a story that I wanna tell one day.

I'm at the halfway point of shooting .

I'm just thinking of 2001, which I think is the most expensive independent film ever made - which is great, someday I hope I will do one. But I know the parameters when I got onto this project - I have to take care of everyone, make sure that they are all on board, and this process interests me.

I hear Amy Schumer on Howard Stern, and I think, "I wish there was a movie that starred her, because she's so interesting," and then at some point I go, "I guess I have to get involved, because it's not happening right now. Maybe I should help try to make that happen."

I have thus decided to make a certain film and now begins the complicated and difficult-to-master work. To transfer rhythms, moods, atmosphere, tensions, sequences, tones and scents into words and sentences in a readable or at least understandable script. This is difficult but not impossible.