Elijah Wood Quotes

I always prefer shooting on locations, because when I'm at home, it's harder to sort of get lost in the world of whatever you're making. It does, it does force this bond and community amongst a group.

My creative partner is a writer, and he's got an executive producing credit on this film. We've made three films together and I would never underestimate the impact of a writer.

I always claim that the writer has done 90 percent of the director's work.

I remember Emilio [Estevez] and I were at John's house during the rehearsal process. And John [Huges] had mentioned he wrote the first draft of Breakfast Club in a weekend. And we both at the same time went, "First draft? How many do you have?" And John said he's got four other drafts. And we go, "Can we read them?" And for the next three hours, Emilio and I read those other four drafts.

I so desperately hate to end these movies that the first thing I do when I'm done is write another one. Then I don't feel sad about having to leave and everybody going away. That's why I tend to work with the same people; I really befriend them.

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.

Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.

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

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

Really top-notch directors, I've often worked with them just to see how they work.

Films are not mathematics - that's the first thing you need to understand. At least, that's how I feel. They are not words on paper. Films are made with people, with teams and with individual bundles of creativity coming together to fulfill the vision of an individual who is the director of the film.

Throughout my career, when I was finished with the drawing for one film I would go up to the story department and help develop sequences. Sometimes these were for scenes that I would animate later on.

In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.

The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

I co-wrote and produced 'Sticky Fingers' with Catlin Adams, who directed it. I learned a lot writing and producing with Cat. I spent as much time as I could in the cutting room with her. All the producing experience that I had helped.

Movies are very hard to make, to get it all to come together. So many people have their say in what the end product of films are.

The type of producing that I did for many years involved working very closely with directors.

The writer's room is a really interesting place to be.

To make films, you have to have boundless energy; you have to work and play with others really, really well, and I'm really a more contemplative kind of person. I like to sit at home and think, a lot.

I like to just work with great directors.

Film is a very collaborative medium. If you're smart enough, you learn how to maintain your vision while drawing resourcefully from all the people around you.

It's sort of one ongoing process where writing ends and directing starts.

Obviously I'd love to work with any of these great directors because every time I've worked with them I've gained a tremendous amount as an actor. Each director has his own way of pushing you towards improving yourself.

I find that with any good run on a show with good writers, they put something on paper, and you put something back on film, and that affects what they put on the paper the next time.

When we are in pre-production, this is the best job in the world. Working 10 to 7, sitting around and brainstorming with the other writers, making things funnier and writing and rewriting scenes - that's as fun as it gets.