Martin Starr Quotes

When you work with someone you don't quite know, you have to figure the director out, and you can come up with ideas that are counter-productive.

The hardest thing about a musical is making sure everybody is working on the same damn show. That is the monster.

I'm not the first person to say this, but communication at 'SNL' - I don't want to say it's not good, but unless you ask questions, you will not know what's going on.

Everyone is on the same page and putting their best foot forward.

A great movie evolves when everybody has the same vision in their heads.

I don't want egos and personalities on the set that make it more difficult to make the film. I don't want people who take the focus away from the movie and the ideas behind the movie.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

I know that sometimes the chemistry just isn't there between the model, photographer, hair and make-up. It's nobody's fault and you just have to do better next time.

I depend on good editors and a good director.

In effect, I feel like a blind, deaf, and illiterate person working through the sensibilities and multiple, real talents of other people. Everything I do is collaborative.

In truth, I have always been amazed by a group of people who all work toward putting one person's vision forward - that's an interesting story for me.

For my next trick I will make everyone understand me.

The first work of the director is to set a mood so that the actor's work can take place, so that the actor can create. And in order to do that, you have to communicate, communicate with the actors. And direction is about communication on all levels.

No matter how much success you're having, you can't continue working together if you can't communicate.

When a relationship with a director is really working, you have the same idea at the same time. You go, 'Look, this isn't working,' and they'll go, 'I know it's not working. What are we gonna do?' And you go and try something else.

I see my actors as my collaborators.

I believe in discussing very thoroughly what should be the goal. When discussing it, I allow others to give their views.

To work with the same director is a great feeling.

Bands work in a way where everyone, at some point, has to have a similar idea of how you do things.

My job as a director is to communicate, and I want to communicate to all.

Actors have their own processes, and if you want to be respectful of their process, you've got to communicate with them in the language of their process, and keeping that all straight is a little bit of a head-scratcher.

The communication within Sinsaenum is really, really cool. As extreme as the music is, you might not realize how much we respect each other and how much we coach each other and how well we communicate.

I think when I work with artists, I'm at their service, and I'm at the service of either their vision or a vision that we find together and we share.

Filmmaking is not a one man show. It is not like I'm thinking something and they are expressing it. I try to pull the actor in and together we try to get the expression. It is not my thinking alone, it is our thinking. The actor also becomes a part of the thought process.

It's always good when the offensive head coach and the quarterback think like-minded. That's a good thing.