H. Jon Benjamin Quotes

Nothing else is as fulfilling as playing a part in which you are able to have a significant say in the creative process all the way through. How many actors get to do that? It's extremely rare.

You don't always just have to do an indie movie to feel like you're controlling it with a few people that you really have connected with, creatively. You can do it on a bigger scale.

Why hire these geniuses if they're forced to stick with the script? You want to empower your actors as collaborators.

It's not very often that you get to come up with ideas and bring your take on the character and then actually have writers, producers, and directors pay attention to it.

Mike Schur knows exactly what everything should look like but, at the same time, is super collaborative and loves working with actors that make choices and bring stuff to the table.

I'm a firm believer in the idea that once we make a thing and release it, my turn to talk is done. Ideally, you're saying everything you want to say in the product you're making, and you don't have to add commentary to it afterwards.

I always say I want creative control. A lot of people don't think about that. And that's what every artist should think of - being creative and not just a puppet.

I guess when you're holding the creative reins, you can be across everything, and it's more authentic. You can control it.

My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I'd like to build something to that effect.

No matter where I am working, I cannot make a film without 100% creative control and final cut. If there is such a guarantee, I can work anywhere.

Being on set is difficult for the writer. Your job is done, and you have to step back and hand it over to the director.

On any movie I'm involved with, I say what I think.

The experience of both acting and producing has been wonderful. It certainly has created a full plate. But it is very exciting and rewarding to have creative input on the show. 'Reed' is about love and family and for me, playing a hand in shaping it has been deeply gratifying.

I believe in creative control. No matter what anyone makes, they should have control over it.

I have as much artistic freedom in my television work as I have in my films.

I feel I should defer to the writers and the directors because they're the ones who have the complete vision. They see things through from the beginning to the end. I'm responsible for one small part, so my scope is much more limited than theirs.

I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.

Control is the wrong word. The practice is very much about sharing, and, in any creative practice, some individuals, whether partners or directors, are much closer to certain projects than I could ever be.

I need to find a way of retaining creative control.

Some people make movies for money or glory and will take any subject people offer them. But I cannot do that. I need to feel the story and make it mine.

I don't like directing that much to want a career as a director for hire. I like to have as much creative control as possible.

TV is the place for writers to live. This is where you have creative control and you're constantly writing. 'Twilight' had almost a TV schedule to it. I was constantly working on these projects. There was not a whole lot of lull but I've gone onto other feature projects that's like, 'Okay, I'll get back to you on notes.'

I love doing stand-up. It's so self-contained - you go there, you do it, you go home - but with telly, there are too many people involved with it with opinions. You have a product, and everyone wants to change it.

The artist is not responsible to any one. His social role is asocial... his only responsibility consists in an attitude to the work he does.

'Sabotage' was a work for hire. It wasn't my original idea or script or anything.