Logan Lerman Quotes

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

I have stories that I'd like to maybe one day consider directing, but you need a lot of time to write and put it together.

Getting your screenplay right is the most important thing you'll ever do on your film.

It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there.

I want to make my own films from my own scripts based on stories I want to tell, but they take time to put together.

It's sort of one ongoing process where writing ends and directing starts.

'Hardware' came about because I had written quite a few scripts and hadn't had any luck getting them made.

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 take time to write my script, if I have more scripts, I will make more movies.

I know 'Dabangg' has some pre-requisites. Every film has some requisites that you have to fulfill. I sat down with my writer and discussed what as an audience I want to see in the second part of the film. We worked towards that and we hope what we thought connects with the audience.

So, yes, I wrote a script called 'Ben Is Back' that I got to make with a bunch of remarkable artists and craftspeople.

I wrote the plot [for the Persepolis ]and Vincent [Paronnaud] and I wrote and discussed the shooting of the script. Vincent then took care of the production design, the actual shooting, and what was going on within each scene. It's very difficult, though, to draw a line between who did what. Because Vincent would say something, and I would add something, and at the end you have this film, yet no clear idea of who did what.

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.

What I did was I completed the half-hour film, but before really showing it, I wrote two more sections for a potential feature film which I didn't think would really happen, but at least I had it in case.

Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.

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.

All the films I do, I write the scripts, I direct.

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.

All the director wants is their idea of the movie to be believed in.

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

I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.

When I was younger I didn't really know what a director did: I knew I loved movies and I figured the actors made it up! And then when you get to 12 years old you start thinking, What does a director do? It was really an organic beginning: this looks like something I want to do, I can't believe people get paid to do it!

My dad always produces, and I would always sit in producers' meetings with him. I like the whole thing of putting a movie together. I think that's very exciting.

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.

In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.