David Heyman Quotes

Every film is a human encounter. It's people trying to collaborate and create something together.

Making 'Sweetback' took an exorbitant amount of energy and time.

It takes two years to make a good film.

I honesty feel that each film has its own particular challenges.

I think I'll try to keep working in film for a little bit. There's something still kind of magical about it, that I don't want to let go of.

I love directing because you get to see your film come to life. You get to work with the actors. There's something magical about each piece of it.

You definitely want to do the little films. They're always going to be harder, but you don't do them to make money. You do them so you can see what you can make with the research that you have.

The reason I wanted to start directing is that as an actor I felt I came into a job late. There's a whole team of people who have been working on it for months before you start. You have this really intense period of filming and then you leave it, knowing that the director will work on it for another few months.

Critics think we try to make bad films. They think we want to spend five months of our lives making something bad. We always go out with the best of intentions, whether it's fluffy comedy or a drama.

There's never been a mathematical equation that says a good experience making a movie equates to a good movie, or a bad experience on a set is going to lead to a bad movie.

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.

My point was that it's hard to make good films, but I'm not under any illusion that you do all the time.

It's embarrassing, isn't it? It took me 15 years to make an 18-minute movie.

Honestly, when you're making a movie, you never say, 'Oh, this one's going to suck and go straight to video.' When you're in it, you think you're doing the best work you can do. You're surrounded by people who are working hard. Everybody's hopeful.

I love David Fincher - even though it was just two scenes, I loved the way we worked and could tell by the way he was shooting it that this was going to be an affective movie to say the least.

For a film to be viable, it has to survive this process of scrutiny. I think most filmmakers have obsessive-compulsive tendencies and would be completely unemployable in any other job - so it's great to be able to channel your psychological anomalies into something productive and creative.

Frankly speaking, it's only the script that matters to me the most. If I like the script, then I just commit to myself and go ahead with it. But I also look at the commitment and confidence of the director of the film because it's him who will shape the film.

When you make a movie, you can only make the movie that you would want to see.

When I'm working on a movie, I will make any sacrifice to finish it.

I feel like I'm a filmmaker; I don't feel I need to yell action and cut.

It's not that there aren't people who care creatively in the world of television, but there's always a bit more time in making a movie. I always feel films are more of a creative journey.

Anyone who has ever been privileged to direct a film also knows that, although it can be like trying to write 'War and Peace' in a bumper car in an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling.

You're always just trying to make your film, tell the story you're trying to tell - best you can, you know.

One must always attempt to make good films, even if you fail it is ok. It is a journey, you have both good and bad days.

I think that, again, filmmaking is the director's medium in the end, and the best thing a producer can do is stay out of the way and support the director one hundred percent.