Christian Slater Quotes

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

I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.

Any story, any screenplay can only happen if the whole unit is professionally working towards it.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.

I have great respect for directors who know what they're doing.

I'd work with Danny Boyle every day of the week. No matter what he was doing I would do that.

With film, I have to be a team player; it's a whole different thing. I can't just be a one-man show. I have to learn how to use people to the best of their ability and motivate them to be as passionate about the project as I am.

When you're a director, you really live whatever you do.

You never know when you read a script how it's going to turn out because so much depends on the collaboration between people. If I'd been in some of the movies I turned down, maybe they wouldn't have been a success.

I haven't worked with a director who is a crazy person at all.

Ever since my first film, I had more producers than scripts. And I've realised that a certain project requires a certain kind of producer for it to be made well.

I view myself still as a director. That's what I do.

Filmmaking is all about people management.

I think a first-time director always has to convince a lot of people that they're ready to do it.

Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

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.

Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.

I wouldn't want to direct - I think that's a very different job. You have to be a very specific type of person to do that.

I love doing a film with a new bunch of people.

To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.

I depend on good editors and a good director.

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.

As a director, I get to have a much broader creative expression than as an actress.