Kelly Asbury Quotes

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.

I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.

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.

Mike Schur knows exactly what everything should look like but, at the same time, is super collaborative and loves working with actors that make choices and bring stuff to the table.

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'm better suited to be a director, I think. I see myself as the general author. I hate the word 'auteur,' because it sounds so solitary when filmmaking is anything but solitary.

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.

What I love most about animation is, it's a team sport, and everything we do is about pure imagination.

Being a director, just to begin with, is just, I think, one of the hardest jobs just because you have to work in every way. You have to work with actors, you have to be involved with the producers and the writing and the action. Every department comes to you; you have to deal with everything.

I think filmmaking is a strange animal because it's anti-Democratic and collective at the same time, but I think it's all about not trying to know everything better than everybody else but making the right choices.

Film is a very collaborative medium. If you're smart enough, you learn how to maintain your vision while drawing resourcefully from all the people around you.

Writing is a solitary existence. Making a movie is controlled chaos - thousands of moving parts and people. Every decision is a compromise. If you're writing and you don't like how your character looks or talks, you just fix it. But in a movie, if there's something you don't like, that's tough.

I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.

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.

The producer, in effect, has to work as a translator. You form a very tight relationship with the director and writer from the beginning, and then you are constantly communicating to the various people that begin to come into the process, as you are trying to manage to hold on to a vision that needs to be communicated over a long period of time.

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

The way I feel about rehearsals is that the best idea wins.

I've always been a very collaborative person, and I think 'Cop Car' and all the people I worked with who made it possible is a good example of that.

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

Music has been more a solitary, creative thing. The acting side of things and working in movies has helped me collaboratively with music in terms of helping me get ideas across to other people and making it more of a team efforts.

I really do see everybody at Marvel Television as storytellers. They might have different titles, but whether they're actors or they're showrunners or they're somebody that answers the phone, all of them are storytellers.

I try to just focus on what feels right to me when I am conceiving it, conceptualizing, designing, etc. and then talk it through with the team and listen to what they have to say. This kind of thing is a team effort, and working with a great team is the most important part of filmmaking for me.

Any time you get to work with creative people - animators, actors, directors and producers, all of this - it helps to refine what tools you'll need moving forward.

In animation, the directors are part of a huge team of animators who all have opinions, too. It's a much more democratic process. Also, the animation executives oversee things more.