Liam Hemsworth Quotes

I think every filmmaker has his way of working, and I respect that.

It's really interesting to observe each filmmaker's approach to filmmaking and I feel very fortunate to have worked with a lot of really interesting filmmakers and they all approach their job in unique ways.

It's true that I don't think I'd be a good director. If I were a director, I'd try to hire the best people I could and then leave them alone. I don't know much about cameras or lighting, so I'd make sure that I had a really good cameraman who understood lenses and lighting, and I say to him, "This is the scene we have to shoot and this is what I think it should be, you go do it." Same with actors. But really, very good directors who know everything do basically the same thing. They hire you and then they leave you alone.

You can't have cinema by committee if you're trying to do it well.

When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.

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.

All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.

Some directors work from day to day. I work from moment to moment.

I'll put it this way: with the kind of films that I do - creatively driven, with interesting directors and writers - I don't feel the need to work with the super established, top-tier directors that are out there.

I think that, again, filmmaking is the director's medium in the end, and the best thing a producer can do is stay out of the way and support the director one hundred percent.

As a filmmaker, the only way that I understand how to make a film is holistically.

At the end of the day everyone has his own style of making a film and add the kind of ingredients which he feels would be good enough to entice audiences.

Derek Jarman shared the responsibility for making the film. He didn't necessarily know what he wanted - he knew what he didn't want - but you had to keep coming up with stuff.

There are two kinds of filmmaking: Hitchcock's (the film is complete in the director's mind) and Coppola's (which thrives on process). For Hitchcock, any variation from the complete internal idea is seen as a defect. The perfection already exists. Coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.

If you have a vision or if you believe the director has a vision, then at least you've got something to talk about, something to try and head to and I think that's mandatory for every director to have to do a good job.

Working with Jim Sheridan for instance, we did this movie Brothers. Jim will ask anybody - we'll get a delivery on set, and like the poor delivery guy will be like, "Here's your pizza," and he'll be like, "Come over here. Come here. I want to ask you a question. Do you think this is real? What do you think? Should we do another take?" And they're like, "I, uh, you want your pizza?" There's no shame in everybody's ideas. There's no shame in somebody not knowing.

I'm pretty focused on what I do. I think directing is a very specific talent, and I'm not real big on putting puzzles together, which is basically what a film is.

It was easy and fun [filming in Hail, Caesar!], and I think it's easy to be intimidated by the Coen brothers, because they're quiet. They don't heap praise, especially upon themselves. It's not like they're walking around thinking they're the greatest thing on Earth.

I think, as the writer, you're always going to mourn something [left out of a film]. But you also just want to know there's a good reason for it being left out. On the whole, you want to give something to somebody creative. The worst thing you can do is say, "Here, be creative, but do it like I want you to do it." I was always very mindful of that.

If a director can find the exact combination between the written word as a guideline and improvisational input from his actors, I think that's where you'll find the most successful work being done.

The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the language of the camera and of filmmaking, which gives him a great freedom.

I like working with writer-directors because you can solve problems right there.

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.

The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.

The Weinsteins believe in test screenings. I don't. I don't think good films are made that way. Call me crazy, but I'd like to think you need a singular vision to make good art.