Alexa Vega Quotes

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.

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.

As a director, it just makes my life fantastic to work with people like Elizabeth Hawthorne.

In 'Stree', I had a great time working with the whole team and Dinu, being the producer and one of the most important people. And now we are doing another film together, and I'm sure there will be a couple of more films in the future.

Every film is a human encounter. It's people trying to collaborate and create something together.

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

I am very pleased to be working with director Woo.

I spent almost 3 months with Bergman, four hours every afternoon. We sat and went through the whole script. To be honest, most of the time we talked about life and other different things. It was really a wonderful time.

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.

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

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 suppose directing on set is the most fun because it's a good crack and you feel you're on the battlefield whereas writing is a fairly solitary undertaking.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.

I depend on good editors and a good director.

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

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.

I think I've had pretty good experiences for the most part with the people who have directed my screenplays.

Honestly, when you're making a movie, you never say, 'Oh, this one's going to suck and go straight to video.' When you're in it, you think you're doing the best work you can do. You're surrounded by people who are working hard. Everybody's hopeful.

There are so many things that have to go right for a movie to be good that it's a miracle whenever one is.

We stayed there 24 hours a day. We lived and ate and slept that movie. We were enthusiastic, not just because of the movie, but because we had such a great collaborative team. We had a really good time. It was very much a family.

What's great about making movies is the sort of additive process of bringing people together and having an idea and watching the idea be added to and at the end you have this thing.

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.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.