Dana Brunetti Quotes

Juggling many projects and having all these accidental collisions that you can't predict enables a kind of comparative thinking. To focus on a single project from beginning to end is extremely difficult, not just for me, but for many people.

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

Basically, I see myself as a maker of things who knows how to support other makers of things. At the end of the day, I am just committed to helping put good stories out into the world in whatever role is appropriate and needed for that particular project.

Game design has always been a secondary passion. I don't know how to program, though, so I'm at this strange crossroads where I'm like, 'I wonder if I can convince people who know what they're doing to hear me out on one of my ideas.'

In the world of book writing, there's a few people, maybe, where you have close relationships. In TV, there are so many more relationships, and they're all so critical.

There's always somebody you can call and go have lunch with and just talk out an idea. And it's great, because I need that. It's part of my writing process, to early on sit people down and say, 'Alright, this film I'm working on...' and I tell them everything I have.

So when it was my turn to start developing projects, I knew the writers I wanted to work with, and I had met every head of studio, every executive and a lot of producers. I started finding things, little crumbs off other people's tables that I would make my own.

Most filmmaking is about shaking hands and just starting.

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.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

What I love most about animation is, it's a team sport, and everything we do is about pure imagination.

I'm one of those actors who is going to come in with 2,500 ideas. You can shoot down 2,499, but one of them you're going to like.

The key to this collaboration - which we undertook after much deliberation - was to stretch creatively. New characters, new locales, new form (the novella).

The truth about filmmaking is you have all these ideas and you're trying to convince everybody that they should buy into this idea, but at two o'clock in the morning when you're all on your own you're going, 'Geez, I hope I know what I'm doing. I hope this idea is gonna work.'

I've been really lucky because I've managed to become wonderful friends with a handful of very talented British designers. Christopher Kane has become one of my very good friends - also Erdem. Jonathan Saunders is another brilliant talent who's very kind. We all hang out.

Making movies is not rocket science. It's about relationships and communication and strangers coming together to see if they can get along harmoniously, productively, and creatively. That's a challenge. When it works, it's fantastic and will lift you up. When it doesn't work, it's almost just as fascinating.

Jack and I usually get together and sit around in the afternoons and start throwing ideas around.

I work a lot, and it's kind of like, you meet people, and you just click. It's not like I'm looking at something and thinking: 'South Park' - how do I get on that?' I just became friends with those guys first. They're nice guys.

When you're making an independent film what you don't have in time and money you have to make up with creativity and diligence.

I tell everyone I interact with what I'm working on and let them bring me anecdotes that illustrate my themes.

One of the things that's fun about TV is it grows, and you set goals and aim towards stuff, and one of the writers has an idea, and you say, 'Ooh, that's so much cooler. Let's do that instead.' It's so much more fluid and organic that way, and that's the most fun part about it.

I love working with young people and young filmmakers, and I love working on first films. I think it's cool. It's fun. I just take it as it comes.

My career has gone in such a way that I've gotten to learn that, when you're working with a great storyteller, you don't ask questions; you just trust them.

The cool thing about directing is, whatever cool thing works in the scene, it's still making the episode be a great story, and everyone's working toward that goal, so it doesn't much matter where it's coming from.

I want to be around people that are just as enthusiastic about the process and storytelling as I am.