James Horner Quotes

I think the movie business, you meet people, and you work intensely with them, and you have these relationships - there's an intimacy to it and a familiarity to the relationship because you're having to let go of all your barriers so you can let people in and work with them.

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.

As far as an actor-director connection, I think those can develop, and when they do, they're really great, and you just cultivate it like you would any relationship or friendship. If you find that something special, it helps down the line when you want to do more projects with each other.

There are lots of people that make movies. It's not just the director.

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

Ultimately what I try to do is work on stories I love with people I admire, and sometimes they get made and sometimes they don't.

We tend to see films as artifacts of one mind. The reality of it is, I think, when you come out here and start working, you have to learn pretty quickly that it's a very collaborative process.

I am very pleased to be working with director Woo.

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

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

I always argued against the auteur theory; films are a collaborative art form. I've had some fantastically good people help me make the movies.

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.

He wasn't directing it, of course, so I didn't work with Hitchcock.

So I've had really great assistant directors for my last seven movies.

It was a challenge, to work with Oliver Stone.

I depend on good editors and a good director.

I was in New York. Hitchcock was in California. He rang me to make a report on his progress and said, I'm having trouble. I've just sacked my second screenwriter.

I realized the exciting place was behind the camera with the producer, director and so on.

Working with and collaborating with and for Peter Jackson was an incredible experience because he is such a phenomenal filmmaker.

I had a really good time working with Jim Cameron. A lot of people didn't, but I did as I got on with him really quite well. For a director who spends most of his time looking down a lens or in the digitisation studio or working out some graphics, he is actually very good with actors.

I care a lot about who I'm working with as directors and other actors.

I'm re-teaming with the producers of 'Twilight,' whom I love and who I have an amazing relationship with.

Ever since my first film, I had more producers than scripts. And I've realised that a certain project requires a certain kind of producer for it to be made well.

The reason I wanted to start directing is that as an actor I felt I came into a job late. There's a whole team of people who have been working on it for months before you start. You have this really intense period of filming and then you leave it, knowing that the director will work on it for another few months.

The director is the ultimate creative arbiter of what's going to happen. And as a director myself, you really appreciate collaborating with people who are trying to help you find what you need and what you want.