Kelly Lynch Quotes

Having a director who is also an actor makes for that very relaxed way of working and it's empowering.

I think most co-directors and co-writers just hold hands.

All directors have their strengths and weaknesses, as all actors have, and all artists. What you try to do is complete the relationship and take care of the stuff that the director won't take care of.

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 love involving actors at all levels - and they have to know that I want to hear their contributions, with dialogue, with story suggestions, with script changes, whatever.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

I have a partner, Danny Strong; he's an incredible writer and, really, my backbone. So when we don't see eye to eye, it's painful.

A film is a director's vision... there is, however, much input an actor or actress can have.

My career is based primarily upon finding a balance with a director and their vision, and that means sublimating my own personal ego toward their material.

No director wants to be directed, but no good director... would shy away from the good ideas of others.

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 think one of the geniuses of Bound and The Matrix and Memento is the complete collaboration of the effort. There were no rotten apples.

What goes on between the actor and director is sacred.

I really love Andrew Dominik's movies. When you work with someone whose movies you really love and who you have a lot of admiration for, you turn into putty in their hands.

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.

One of my favorite things about 'Castle' is the fact our writers and producers are so collaborative. They allow us to bring in ideas, and they try to make them happen for us.

When I was a kid, there was no collaboration; it's you with a camera bossing your friends around. But as an adult, filmmaking is all about appreciating the talents of the people you surround yourself with and knowing you could never have made any of these films by yourself.

I like to come to the set with very strong ideas and strong opinions about how to do things. And I like also dealing with somebody who's like that.

I have the highest respect for stars and auteur directors. But I don't want to work with people who only invite me to the preview. We want to be in the collaborative movie business, not the financing one.

If I'm going to produce something, it's going to be with somebody I think is special. Once I go beyond a handful of directors, like Scorsese, there are very few I want to work with.

I see my actors as my collaborators.

After making 'Secretary,' it was a real shock to me to learn that some directors just aren't interested in what actors have to say. They just don't want to collaborate.

Honestly, one of my favorite things about a director is when they understand what an actor brings to their role.

That's what I learned most about directing on my own - you've got to build a family, a filmmaking family.

If you understand each other's way of thinking, you understand what kind of film someone is trying to make, and all the ideas that I come up with will fit into that film.