Aya Cash Quotes

All the films I do, I write the scripts, I direct.

All the director wants is their idea of the movie to be believed in.

What you do is get the right director and the right screenwriter and the right cast. It's a fantastic job.

And after you've done the acting, there's a lot of places you can put your input - in the editing, in the production of it, in the rewriting of it and so on.

If you are making a record, you are the one saying 'action', and you are the one saying 'cut,' and you have to be sure that the most interesting thing is not going on outside the frame.

I want to direct one day. I want to write my own thing and really be behind the scenes because you have more creative control.

I want to make my own films from my own scripts based on stories I want to tell, but they take time to put together.

There comes a time as you continue to write and work on scripts and screenplays where you realize that you have opinions about the next step of the process, and you kind of want more control over the translation from page to screen.

There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.

In TV, when you come in to direct an episode, you are effectively learning an established language; you then have to try to learn to speak it really well. But on a movie, you are the guy. You are creating the language; you make most of the decisions.

The kinds of movies I make are not easy to get made.

Directors are the fulcrum of the movie. They guide us well, not merely rein actors in. Whenever we stray, they bring us back on track.

I would like to do all kind of movies, but it all depends on the producer. The director, the actor, and the producer must like it, and they must be clear about it.

It's always the script first choosing roles. [Then] whoever else is attached. I never like to be the first person attached, because I don't really trust what's going on, unless there's a really good director.

I have thus decided to make a certain film and now begins the complicated and difficult-to-master work. To transfer rhythms, moods, atmosphere, tensions, sequences, tones and scents into words and sentences in a readable or at least understandable script. This is difficult but not impossible.

Very often on films, even without a producer credit, I'll be involved, very early on. I want to be there as the thing is taking shape.

The secret of making movies is having the strongest possible script.

Every film starts with the script.

(When asked what a director does) I help.

It's a simple thing he [Frank Daniel] taught me. If you want to make a feature film, you get ideas for 70 scenes. Put them on 3-by-5 cards. As soon as you have 70, you have a feature film.

I never had a movie that I wanted to do turned down in my whole life. I always write the script first so it speaks for itself.

I'm always involved with casting my movies. I have final word on it.

I suppose I can do more for a script as an actor than as a writer - in the film sense.

You can't get a movie made without a script; it's the blueprint to your building.

The formula for a successful film is simple: good script, good direction, a dedicated cast and a fantastic crew. If you have all of these elements then the rest will fall into place.