M. Night Shyamalan Quotes

Firoz Nadiadwala is a close friend; he was the first person who asked me to direct a film for him. I would like to have him as my producer for my directorial debut.

I like working with writer-directors because you can solve problems right there.

It's really hard as a screenwriter, you feel like you have a vision and then you turn it over to a director and you have to let it go.

No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn't often happen.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

From an artist's point of view, I always want to work with the writers I admire.

You can't have cinema by committee if you're trying to do it well.

It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.

These last few years, working with Tim Burton, it's been the best time I've ever had.

We've been working with the very best in the business. The studio really just let us alone to make the films.

You can never tell when an artist really will take up someone's work and work with it happily.

I view the whole thing as a collaboration. As an actor, I always found that to be the most freeing thing, when the director would collaborate with you, so that together you'd come up with something exponentially better.

'The Homesman' is my third collaboration with Tommy Lee Jones as director, and each time, I am aware of how fortunate I am.

I believe the better I can write on my own, the better I can be of service in a co-write. The big thing with a co-write is trust, and it's not so much what you get the first time you sit down with that writer. It's the relationship that you build that you're in. So you can trust throwing out all your ideas and how strong you think they might be.

If I'm going to produce something, it's going to be with somebody I think is special. Once I go beyond a handful of directors, like Scorsese, there are very few I want to work with.

I see my actors as my collaborators.

To work with the same director is a great feeling.

I say yes to everything if I like the overall thing that's being put out there. I'll do anything with David Wain.

Actors and directors work on things together. That's how I like to work, anyway. I don't want to be told what to do. I want to share it with someone and work it out together.

Having a connection and chemistry with a director is really key.

In 'Stree', I had a great time working with the whole team and Dinu, being the producer and one of the most important people. And now we are doing another film together, and I'm sure there will be a couple of more films in the future.

In an ideal world, as a director, you usually wish you could do your own thing and not have to take anyone else's point of view into account, but occasionally you work with someone like Robyn, who brings a new set of ideas to the table, and the whole ends up much greater than the sum of the parts.

Some choreographers have been cautious about working with me.

I can only go with my gut and say what I would like to do, and then my producer comes in and makes it happen.

All great directors or anyone who has a strong vision like Scorsese needs to have a lot of support around them. I think from the very beginning - when we met each other - he realised he could trust me to do what was right for his movies.