Ellen Page 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.

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.

All the director wants is their idea of the movie to be believed in.

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?

Part of what I love about producing is to get to work with writers.

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

After I made my first short film that wasn't terrible, people were interested in potentially developing a feature with me. Every time I read a script, it was a bizarre, too-dark, genre-less thing that no one wanted to make.

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.

I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.

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.

When I sign on for a project, I'm there to give the director all the material he or she might need to tell their story, and that's the number one priority.

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.

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'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.

Producing is so exciting because you can enable things to happen, whether it's like discovering a filmmaker who you're taking a chance on, protecting a battle and driving home at the end of the day just going, 'I'm so glad I stayed late at work and fought hard for that. Had my passion. Won that battle.'

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

I want to make my own films from my own scripts based on stories I want to tell, but they take time to put together.

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.

If you want to make movies you need to think on a micro-micro level and figure out how to make them for nothing with people who really care about your movie and really want to make it.

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

This was a really big opportunity. This script was even mediocre. The idea was great, but Jay came on with his guys made it great and very specific. It all came together well.

The minute you start the process of deciding to make a film and you're communicating that vision to anyone, you're in the process of selling. If you don't understand that, you're not in show business. You're just not.

A film goes through so many hands, that by the time it's done, it might not resemble what you thought you were making.

Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.

I vicariously lived the life of an independent producer from the time I was four years old. And what was always important was writing, writing, writing.