Wong Kar-wai Quotes

I don't worry about collaborating. Whatever happens, happens.

With Fincher, you can take chances and try things. And what happens is that any pretension and preparation you've done, all the square, intellectual work, you can't keep that up for 40 takes. It breaks down, and new things start popping up. This, for me, is the most exciting thing about film-making.

Acting to me is a very organic art form and you just go and do it. And I like to direct the same way that I like to be directed. Let me bring in what I want to bring in, and if something's wrong, just tell me about it and I'll make some corrections or adjustments. And that's what I do.

I just can't say enough about the actors having faith and trust in the writers and the writers having faith and trust in the actors.

You don't know what inspires you. You like to think you know what inspires you, but in the final analysis I don't think you really do. It's great to look at a blank sheet of paper, you know, and walk up to an instrument and not know what's gonna happen. It's the most challenging thing I do.

A good director's not sure when he gets on the set what he's going to do.

I know Charlie Kaufman really well, for instance. Charlie Kaufman starts a story, and he has no freaking idea where he's going. None. Zero. And he doesn't want to know, because there's a little bit of death in that.

I think there's always this idea in your head, but you have to allow the film to take its own course.

But I just think we've got such a continuity with what we're doing that most people come in and fill in the blanks. And sometimes we leave a lot of blanks to be filled.

I'm not the kind of director who imposes his processes on everybody else.

I love when you get to work with people you know because there's so much more trust, and you're much more willing to be vulnerable in a scene with someone you trust.

I like to be sort of grounded with Fish. But, at the same time, I think probably what's unique about us is the way other dynamics happen, where I'll play off Trey for awhile. When we start playing a jam, I don't usually know what's going to happen, I don't have a plan.

No dance has ever turned out the way I thought it would, because I trust enough that I can start something with some ideas and then it takes itself somewhere.

I see my actors as my collaborators.

I don't have a favorite process. My favorite process is the right process for the person I am working with. I can fit in any process as long as the director respects who I am and doesn't try to put me in a situation to get something out of me - if I can give it without that situation.

Camaraderie doesn't happen by accident; developing a strong sense of trust, accountability, and togetherness around team goals requires intentional effort.

Before I do episodes of 'The Good Wife,' I talk to the director and say, 'I'm trusting you to let me know if it's too much! I won't be offended.' So I put myself in their hands, and most of the time they let me do my thing, but sometimes they'll say, 'Let's try this.'

I have a great relationship with everyone at Lucasfilm and with Kiri Hart.

I'm down to work with anyone as long as it's an organic collaboration.

As I get more confident as a filmmaker, I don't need to prepare so much in advance. I can trust that I and my team can come up with a solution.

If I see that everything the director does is motivated by trying to achieve the best, I can accept anything.

I don't break my head while working on a film or a show. The director is capable enough to bring out the best in all. So, why should I bother with anything?

I like to leave things open, and even when I write out the story ahead of time, it always changes. I don't think I would finish anything if I was sticking to a plan that was very rigid.

That's what's so wonderful about collaborating: your idea can explode and become something else.

I wanted to be open. On the last project, "Affection," I co-wrote everything. Sometimes, I think, it's smart to step away and be open.