Milo Ventimiglia Quotes

You don't always just have to do an indie movie to feel like you're controlling it with a few people that you really have connected with, creatively. You can do it on a bigger scale.

I love doing features, but it's a very different ballgame. Sometimes I yearn for short films again, working with a small team, getting my hands on the clay.

Many people came out and said, 'Boy I'd love to make a film that way.' Well, borrow some money, get some people together - you can get people to work for nothing, just treat them right, treat them as human beings, not stars, give them all an equal share, make them feel a part of what they're doing. There's no big secret to it.

The great thing about movies is that they're collaborative. And the worst thing is that they're collaborative.

I love writing books, but it's a solitary experience. When I'm on a film set, I'm with a bunch of other artists working together to make one thing.

I truly believe that cinema is a collaborative effort, and as long as I get to tell, and be part of, interesting stories and work with genuine people, I don't see any project as a 'risk.'

As a director and filmmaker, I love creating my own opportunity, and getting to share the love, in that way, by creating other opportunities for people that I admire, so that they can do something in a way they haven't done it before.

Make the movie your way. Surround yourself with people who know more than you.

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.

A film takes a lot of time, and yet not enough to share with the people you're making the movie with, I think.

There are a lot of global decisions that you can make as a co-publisher, and only publishers can make those kind of decisions. At the same time, there are some things you can do only as a penciler or creator. I want to keep my hands in both pots, so to speak.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

Kubrick ate it up. He loved it. He just let me go crazy.

There is an isolated experience to being a director. It's very communal because there's a crew, but it's only you. You're the one on the hook.

I feel like I'm a filmmaker; I don't feel I need to yell action and cut.

I want to get into producing and writing more for myself - setting up my own films and seeing what kind of personal touch I can put on movies, as opposed to just being in them.

'Senna' took five years, 'Amy' took three years. You try and say, 'Look, there's no deadline.' That's important. Just saying, 'We've got to make the film. And once the film's ready, it will be out there.'

I would always direct my own stuff in Mexico.

I wish I had more control over my career, but making movies is something you do with lots of people.

I think that, again, filmmaking is the director's medium in the end, and the best thing a producer can do is stay out of the way and support the director one hundred percent.

I like to produce my own movies.

As an actor, I can just show up and do my job. The success and failure of the film depends on team work.

I'm a big believer in building a crew. Movies are the most collaborative art form at the tend of the world, and it takes hundreds of people to make one. At the end of the day, I get the lion's share of praise or blame but everybody on the ground knows that it was all of us.

I have always believed that facilitating good, unusual content should be one of my prerogatives as someone who has spent half his life in cinema.

Filmmaking was the way I could write characters and not have to give them up to anybody.