Josh Dallas Quotes

A great movie evolves when everybody has the same vision in their heads.

When I give over to somebody's vision rather than have an idea of what I need to do, it takes me to places I wouldn't have got to by myself. I'm always attracted to a strong director.

I like being on a set where you can make decisions and everything is involved and are happy to work together to make the best work. For me, it's all about making the best work and creative people working together and all being respected and all having their opinions of what gives it the best quality is important.

People think if you're a movie star, you're the boss. But first of all, I'm not a movie star, I'm in a very different place. I'm not looking to do what I want - I am looking for what we can find. It's a creative process.

The great thing about movies is that they're collaborative. And the worst thing is that they're collaborative.

Good actors are a dime a dozen, but I want actors that are gonna be part of my team and collaborative.

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.

When you have the cast, the sets, the lights, an opera takes on its own life. I'm not one of those directors who marches in with a set of plans.

Yeah, we have our differences, but we put those aside, and now we're making music. It's great.

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'm just gonna make movies the best I can, do the festival thing or whatever can come. I plan on working with a lot of the same guys over and over again. I hope the majority of us can stick together.

I have my own office, and I'm there during the evenings and weekends. But during the week, I'm sitting in the middle of my studio, talking with everybody, deciding together every detail, every pallette, every yarn, every colour.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

I produce the way I would love to be produced: In ways to create the best conditions to make your movie, but also to create a space in which the director calls the shots.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

I also feel that the only thing more gratifying than working with someone who you've worked well with is working with someone new and coming up with something great.

In truth, I have always been amazed by a group of people who all work toward putting one person's vision forward - that's an interesting story for me.

It's interesting that instead of having to get tighter and more restricted for a collaboration, strangely enough, from the beginning, we've actually been more confident that we could handle this.

So yeah, a good director will be able to listen and hear everything, but have a confident vision of his own that he can say, 'oh yeah - that's a great point.' And you never know; often you can help far more than you think you can, because there's so much more that he's juggling than an actor.

I always prefer shooting on locations, because when I'm at home, it's harder to sort of get lost in the world of whatever you're making. It does, it does force this bond and community amongst a group.

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.

It's like a cast of actors; you're all working together closely under pressure to produce something everyday. And when we put up an issue, it's like the curtains opening on a new play. I really like that daily sense of surprise.

It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable.

Some of the best art in the world is collaborative, a mix of voices that are stronger together than separate. Take the Beatles, for example. Or every great movie ever made. We like to say they're the director's vision, but really, they're huge collaborations between directors, writers, actors, even producers.

I'm very humble in terms of knowing that television is an extraordinary collaborative medium and that one person alone cannot make a great TV show.