Raphael Bob-Waksberg Quotes

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

The first and primary requirement for me in a director that I'd want to work with is: do they love writing, and do they love the collaboration process with writers?

Every so often, it's time to make a change with a showrunner; you evaluate the creative and how the show is run, how the writing staff works.

The director in TV and the writer and the creator are working very much hand in hand.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

Collider is a company that I formed with a movie producer, Alisa Tager, and we just wanted to create a place where writers could come and develop their ideas without a regard to limitations of form.

One of my favorite things about 'Castle' is the fact our writers and producers are so collaborative. They allow us to bring in ideas, and they try to make them happen for us.

I think of myself as a producer. As a producer and as a showrunner, I already understand what it meant to gather people into a room and step back, to create the boundaries of 'everything's okay' to allow TV writers to go to their craziest places.

Together with script writers Syd green and Dick Hills, we worked on the comedy ideas for this series.

I've been so lucky - I worked with Jason Reitman twice, who has always been a really strong advocate for my voice, and has always really respected the scripts that I've brought him and is just the coolest.

I really enjoy working, you know, on streaming outlets because there's so much creative control for the creators of the shows, and, you know, you're allowed to make such great television.

It's so amazing that you can give somebody like David Fincher 'House of Cards,' and he can do whatever he wants - Netflix doesn't say, 'Oh, you can't do that,' or, 'We need a subplot here about this.' It's pretty neat that it is allowing the creatives to be creative.

It's good to work with a writer-director.

Jeph Loeb has been great to work with, and he's been really supportive of some really bizarre ideas I've had.

The Duffer Brothers are so attentive to story and detail while being wildly respectful of me and what I bring to the process.

Great direction, great acting partner, great character backstory - these are all rare luxuries to have in the room.

There's no better place to do a longform project than HBO. I loved the creative teams I got a chance to work with.

The greatest thing that you have when you're a showrunner is this opportunity to create worlds.

That's what I've always wanted to do - work with my favorite writers and make something from scratch with them that we can feel like didn't exist before we came in the room.

I worked with HBO on 'Recount,' and we had a wonderful experience together. I'm such a fan of HBO and how much flexibility they give in character as well as schedule.

Producing is a way of finding a great script that nobody's making, and believing in it, and doing what you can to get it made. It lets you work with your friends, people you really love to do something with.

The truth is, we were sick of, every time we finished a movie, having to start all over again from nothing, going to a studio, pitching an idea, setting up a new office.

I find that the projects I enjoy signing up to at the moment are with a director who's interested in the script - isn't completely sure what the movie is and isn't concerned about it. He's just interested in going on the journey and discovering it.

I truly believe that cinema is a collaborative effort, and as long as I get to tell, and be part of, interesting stories and work with genuine people, I don't see any project as a 'risk.'

I think it's good news that cable television is so, so supportive of the Louis C.K.s, the Lena Dunhams, the Matthew Weiners, and the Vince Gilligans. There's just so many people fearlessly making their stuff, you know?