Madchen Amick Quotes

I did 'Red Riding,' which is TV in the U.K. It became a feature project in North America, but we're in a great era of TV. We all know that, and we hear it all the time, but for filmmakers, it's just a godsend to have your television writing and work to do on television, and the means to do it properly.

The directors you want to work with are in the television world.

We're offered bigger, larger budget movies to produce a lot, and we don't do them. That's not to say there aren't exceptions: there are a few exceptions, but I try and stick by the rules that produce what I think is the highest quality, most innovative work and try and let the rules go that make us feel like we're retreading.

What people don't realize is that when you start making things outside of the convention of what is normal or good or 'best practices,' you're also shedding some of the baggage that comes with the concept of what a game 'should' be.

I absolutely love television. What's so great about TV is that I can tell 20 stories in a year. If I was working at a feature studio, I'd tell 1% of someone else's story, over the course of four years.

I wanted to work on a cable show and with a writer/director because that's a much more fulfilling and freeing experience, as an actor.

I'm not saying no to anything, at least as far as reading scripts. I don't care if it's television or films but, personally, I would say I'd like to establish myself more in film.

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

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

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

When I give over to somebody's vision rather than have an idea of what I need to do, it takes me to places I wouldn't have got to by myself. I'm always attracted to a strong director.

The biggest danger of Hollywood becoming a purely corporate town resides in the creative process.

I enjoy directing more when I don't have to direct myself. I like when I can just be the director.

Being an artist is in part an act of rupture.

I definitely want make an impact in television. I want to make a continued and greater impact in feature films, and I want to be somebody who continues to be at the forefront of creating a wide variety of content that I could be proud of and that engages people on all levels.

Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.

A new medium always has a period when it is struggling inside the confining box of an earlier medium. Creators have to unlearn what they knew before they can see the fresh, uncharted vistas stretching before them.

When you work in movies, or on TV shows, there are 50 other people involved. And it's hard, man. They brainwash you to think you're doing the right thing.

Know what the old masters did. Know how they composed their pictures, but do not fall into the conventions they established. These conventions were right for them, and they are wonderful. They made their language. You make yours. All the past can help you.

Yeah, we pretty much had a form and a shape by that time - a style - and I think one of the advantages of not having any relationship to any other puppeteer was that it gave me a reason to put those together myself for the needs of television.

You seldom get that in film where you're lucky if you get any say at all in the final cut.

The best films come about through experimentation.

I've never had an issue with studios. I believe in them as true creative partners in the process.

When I started 'Record Collection,' I had no idea that it would come out sounding the way that it did, and that's one of the best things about the creative process, taking turns with the things you didn't know.

There's no room for being a visionary in the studio system. It literally cannot exist.