Leigh Whannell Quotes

'Sing Street' was the first time I'd worked so collaboratively.

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.

Filmmaking has always involved pairs: a director coupled with a producer, a director alongside an editor... The notion of couples is not foreign to cinema.

In 'Stree', I had a great time working with the whole team and Dinu, being the producer and one of the most important people. And now we are doing another film together, and I'm sure there will be a couple of more films in the future.

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

Music has been more a solitary, creative thing. The acting side of things and working in movies has helped me collaboratively with music in terms of helping me get ideas across to other people and making it more of a team efforts.

The Braintrust developed organically out of the rare working relationship among the five men who led and edited the production of 'Toy Story' - John Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, and Joe Ranft.

Anybody who knows how to make a good movie, knows that it's a collaborative undertaking. To deny that its really dangerous.

We really enjoy that, having a relationship with writers, developing material and getting a director, actors, that we have kind of that family kind of as a group we're going to do it together mentality in a project. Then the tough part is - so what actually goes has very little to do with us sometimes.

I like working with writer-directors because you can solve problems right there.

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.

It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.

I love Rob Zombie - I'd love to work with Rob Zombie or John Cameron Mitchell.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

I'm just gonna make movies the best I can, do the festival thing or whatever can come. I plan on working with a lot of the same guys over and over again. I hope the majority of us can stick together.

I had a brilliant time working with the entire cast and crew at 'Return To Nim's Island.' It's amazing how, after working on a film, you really become a family, and you build these really special bonds together.

It's ludicrous to think people work for you: 'a film by...' doesn't exist. Directed by, maybe, but it's a film from a collective, a group of people whom you consult and seek your counsel and advice and vice versa, too.

Quentin Tarantino is a genius. I want to do every single film with him.

I think one of the geniuses of Bound and The Matrix and Memento is the complete collaboration of the effort. There were no rotten apples.

I think most co-directors and co-writers just hold hands.

'The Homesman' is my third collaboration with Tommy Lee Jones as director, and each time, I am aware of how fortunate I am.

In a collaborative environment directors hire actors because they want their input, not just their bodies.

If making movies was easier, there'd be a lot more good movies. So you kind of learn that if it's just a good script, or if it's just a good producer, that's not always enough. You need an entire team of creative people coming together.

Movies are a team sport now, and I want to play singles.

Any filmmaking, any film is a collaborative process. There's always a lot of people working on things together.