Thomas Jane Quotes

Your director is your everything and you devote yourself to them and you want to help create their vision.

I believe the director's primary role is to create an atmosphere where his company can be created.

The point of having a director is that they make the final decision; it's their point of view, they set the rhythm and they make the final decisions.

I think that I'm a pretty great producer, but the vision behind Batman is Chris Nolan. I'm there to do my best to help execute that vision, and I think I do a really good job, but the vision is Chris Nolan.

A director is what a director wants to be. If you want to force something, you can fight to the death and maybe get fired, but it's your job to help push things along.

Frank Miller is more of a visionary than any director I've ever worked with, and he achieves that vision better than anyone I've ever worked with.

I have an amazing team; I have amazing producers; I have amazing writers, but at the end of it, it's me making the decisions on the writing, the tone, the editing.

I see my actors as my collaborators.

I would say that the energy on set is always the energy of the director because he's the boss.

What Joanna and Solange and Kanye all had in common was a mental image of what the sound is supposed to be. As a collaborator, my goal has to be to help them get toward that mental image. That was cool.

It is the director's vision, and as actors, we are just extensions of that.

As a screenwriter, you always have frustrations. It's just the nature of the job, and you have to live with it. Your vision is not going to be the same as the director's vision. It doesn't mean one is better or worse; it means they're different.

When you do a movie, it's like going on a journey. It's really like the director is the captain of the ship, and that energy, everybody feels.

I learned that as a director, you're around all these talented people, so you have this window that all these really good ideas can come in to help your movie, so you're crazy to close them. You need to be inspiring people, engaging people. There are lots of people who are really good at their jobs but might not know or feel like they want to come up to people and get them to participate and want to do their best.

There's some things that you're passionate about as a director. You just know it has to be a certain way. The challenge is resolving those so everyone is happy and no one feels that they have not been heard.

If you have a vision or if you believe the director has a vision, then at least you've got something to talk about, something to try and head to and I think that's mandatory for every director to have to do a good job.

Directing is a constant test of your communicative powers. You're constantly trying to explain people your vision of what you want and steer these tiny little details into a cohesive thing.

I am used to being on tours with people who are fantastic performers and I respect them and I love their music. But the bottom line is they got the vision for what we are trying to do.

A team aligned behind a vision will move mountains

In order to serve its purpose, a vision has to be a shared vision.

As far as ideas about book design: I have plenty. But I also try and let people do their jobs.

For me, collaborating is a marriage of the minds. It's two or more people coming together and making an idea come alive. Using their own creative knowledge or creative spirit to make the best version of an idea. To inspire an idea and to challenge it to be better than just one person's vision for it.

I think working with actors is a little bit how a chef would work with a potato or a piece of meat. You have to kind of have a look at the potato or the piece of meat and see what kind of possibilities are in the ingredient. I know I'm using the wrong metaphor. I think my job is to see what potato is there and from there, just work under their conditions.

In music, as you develop a theme or musical idea, there are many points at which directions must be decided, and at any time I was in the throes of debate with myself, harmonically or melodically, I would turn to Billy Strayhorn. We would talk, and then the whole world would come into focus. The steady hand of his good judgment pointed to the clear way that was fitting for us. He was not, as he was often referred to by many, my alter ego. Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine.

I think directing is a huge responsibility and it's not something where you can just be like, "Yeah, sure, I'll give it a go!" I think it's something you really need to focus on, and put a lot of effort and attention into.