Emma Kenney Quotes

We all write, but the script is a blueprint. We can lose whole scenes when we're shooting.

Everybody is always trying to make the best movie they can. It's a process.

I give as much as I can, and it's up to someone else to turn it into a movie. Good luck to you!

When I write a screenplay, and when I direct, I always pull lines out.

For me the writing, when I'm going to direct it myself, is really just the first draft, and I don't change it very much; I only change it on average about two lines per movie.

You get spoiled as a novelist because you get to be the director and the editor, and you play all the parts, but as a screenwriter, you are a bit down the ladder.

As a director, you want to work with great writers.

As a director, you try to find what is creative.

The whole process of making movies and writing screenplays is visceral and intuitive.

With directing, you've got to find something and drag it up from its inception, and I'm at the early stages of doing that again. There's something all-consuming and addictive about that.

Film, for me, has been a process of learning on the job.

The filmmaking process is a team effort. A screenwriter cannot possibly do exactly what he wants as if he was writing a novel.

Since I began making movies, I've always looked for screenwriters instead of going through the long and painful process of writing.

Filmmaking is a much more collaborative thing than literature, so you know you're going to be working with a group of people at the start. You know it's going to be a compromise.

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.

I've never written anything that I haven't wanted to write again. I want to, and still am, writing 'A Few Good Men' again. I didn't know what I was doing then, and I'm still trying to get it right. I would write 'The Social Network' again if they would let me, I'd write 'Moneyball' again. I would write 'The West Wing' again.

If you're writing a screenplay for a feature, you don't have any involvement with the casting process, the editing process, the set design, the costume design, or any of that stuff.

When I write something, I want the best director to direct it. And that's not going to be me. So when David Fincher comes along and wants to direct 'The Social Network,' when Bennett Miller comes along and wants to direct 'Moneyball,' or when Danny Boyle wants to direct 'Jobs'? Hallelujah. I want them directing it.

Making a television show is a difficult, collaborative, creative endeavor, and it really requires everybody to band together and all work together every day.

To make films, it always begins with two words: what and how. First of all, you have to find a story, or what are you going to tell? And you have to find a way to tell it visually.

Making a movie is a network of decisions that keep multiplying as you go. You leave a trail of decisions behind you, and that's how you start to see the shape of what you've done. When you get far enough, you turn around and say, 'Ha, that's the movie.' It's only then that you find out if it's going to work or not.

I always thought the writing process for movies and TV shows was just a blueprint. The making of it was the thing.

You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.

My approach to making movies is different than other people, because I just write a lot of screenplays. I'm constantly writing screenplays.

Apart from the highs and lows of when your film releases, there's a strange, addictive quality that making a film has because of all that drama. There's so much that goes on, and we miss it when it's over.