Johnny Depp Quotes

I am open to working with new directors as long as the script excites me.

The challenge in writing the songs for The Aristocats truly fell on the animators & director of the film. Robert & I wrote the initial songs for the film, just prior to leaving full-time employment at the Walt Disney Studios. Therefore, some of the songs we wrote for The Aristocats were never used. I believe, therefore, the challenge fell upon the makers of the film to select what songs made the final cut.

If I had a script that I was ready to shoot tomorrow, I'd work on it every day until we got into production as soon as possible, but I don't have that script yet, so I'm trying to find and support writers, really young writers and hopefully come across a story that I wanna tell one day.

It's rare that I'm working on a movie and that's the case. My goal is the same, ultimately at a certain point you give it to the director and their vision. You're there to support that vision.

No film ever ends up exactly as you would like it to, but with minor exceptions, THX came out pretty much as I had visualized it, thanks to some excellent assistance -- and a whole lot of luck.

I started working with James [Schamus] early on, and my role as an executive producer was more about being involved in the conversations of putting the film together. I didn't have to do much work because James is the most experienced first-time director you could imagine.

You're collaborating with people you don't even know, when you're making a film. You're collaborating with people you've never seen. So, the collaborative process is very, very different than when you're collaborating on a record with the musicians you've worked with all your life.

When you do a movie, it's like going on a journey. It's really like the director is the captain of the ship, and that energy, everybody feels.

My Toussaint [Louverture] film is in limbo. We still hope after all this time that we can find another way to get this film done.

Making a movie is the same as an orchestra; it's moving all the different instruments and the sounds, the kinetic and the auditory and the visual all together. I'm probably the trombone.

Most directors prefer to direct everything themselves. I thought I could on Lord Of The Rings, but very quickly found out that the sheer scale prevented it.

To decide to film a movie again shot by shot, you must be masochistic to a certain degree because it is a much greater challenge.

Pryce, a veteran of Brazil and Baron Munchausen and a longtime Gilliam friend, bristles at the word chaos when applied to the Brothers Grimm set.] Terry knows what he wants, ... He's very demanding, but in a positive and generous way. And if you're up to it, it's very exciting. If you're not, you fall by the wayside.

A lifetime isn't long enough to learn how to make films.

A movie is a creative process from its conception, through its writing, to its execution, to the editing. I think with the best films there is some kind of contribution from one person all the way through that. The best films are made by people who write, direct, and edit, so there's continuity.

If people enjoy the film, it can be really intriguing to see what created that film, how each one of those unique components came together, who the people are who did it and what it meant to them to do it.

A film just doesn't involve actors, a director and a producer, there is also the cameraman, the sound engineer, the music composer, the lyric writer. So many people come together to make a film. When we all feel satisfied with the film that we have created it's a win for all of us.

There were obvious budgetary and time constraint differences. With Jamie Marks is Dead, we were operating on a pretty small finance level. So it was definitely run-and-gun, 16-hour days, every day. I would come back, and I was so exhausted I would fall asleep in my clothes. Obviously, with The Giver we had a little bit more time to take the full three months. So that was different, but in both there was still a creative environment, and by that I mean that it was still collaborative, performance was still valued, and it wasn't lost in the money.

Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.

I wrote the plot [for the Persepolis ]and Vincent [Paronnaud] and I wrote and discussed the shooting of the script. Vincent then took care of the production design, the actual shooting, and what was going on within each scene. It's very difficult, though, to draw a line between who did what. Because Vincent would say something, and I would add something, and at the end you have this film, yet no clear idea of who did what.

If you don't have a brilliant screenplay, then you either have amazing actors who give you the chance to improve whatever is on the page, or an interesting director who has enough faith in the project that they can carry it through and get it somewhere. One of those factors needs to happen. If not, it's sad.

An epic is the easiest kind of picture to make badly.

Making a film is to make sure that everybody looks forward to coming to work.

I went to Art College and during the summer I made a movie with my brother. I got hold of a little camera, wrote a script and dragged my brother, Tony, out of bed to help me (which he did not like), so that we could shoot a film every day for six weeks. It was made for £65 and it was called Boy On A Bicycle.

I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.