Thomas Jane Quotes

What I've learned is that the clearer the creative vision, the clearer the idea for the show, the easier it is to rally your partners around what you're doing.

I'm always trying to find something unique or a project that I can do something unique in. When the director has a vision for a piece that I've never heard before, and they can back that up with visuals and they talk a good game, I get really interested in the world that they're trying to create.

I want to make my kind of films but make them work commercially, too. When my presentation meets the director's imagination, the result will be great.

A great movie evolves when everybody has the same vision in their heads.

You need the actors to feel as much ownership of the performance and the direction of the story as you do to get the most out of everyone's potential. Part of it is just making sure we all have the same vision.

You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.

Movies are the work of a collective conscious. It takes 500-800 people on a movie to complete a vision.

You need these experiences. Just know that sometimes, the director has a specific look in mind.

Every now and then I have to teach directing. The thing about the theatre is that the most important thing you can do as a director is to make sure that everybody is in the same world - you have to create the world and make sure everyone buys into it.

The dream, I think, with any project is it starts with an idea, and then somebody writes it, and the writer hopes that a director comes on and makes this piece of material visual, and both the director and writer hope that they can have actors come in and bring something to it that neither one of them expected, elevating it along the way.

I respect the fact that a director has studied the text and the road map of work before us, the subtleties, interconnections, underpinnings... His job is to paint the entire picture and knows all the colors that have to be in it.

I would like to thank the 49 actors who appear on screen in 'Whiplash' for realizing Damien Chazelle's vision so beautifully.

Your job as a director is to study the show, understand the show, understand the vibe, the tone, the characters.

I would say the most important aspect of direction is that you, as a director, and your producer need to be on the same page, the same line of thinking. If that doesn't happen in the beginning of the film, then that will show in the final product 100 percent.

If your director knows what he wants on screen, it makes things easier.

I think when you work enough on your doing freelance stuff on other films, you start to feel what it feels like to work with people who are not totally on the same page as you.

I had a whole new respect for directors.

I am very excited to work with people who have a strong vision of what they want. They're trying to tell a story, and they want to use me. I'm there to facilitate that. I really like that. I'm like, "Tell me where your frame is. Tell me what you want, what kind of story you want, and I will facilitate it." That's sort of my job, and it makes my work better when I'm working in that kind of a frame, and hopefully it's their work. It's incredibly collaborative, in the sense that you're working toward a common goal.

The director makes the movie. The director has to have the story in their head, has to know the style of the piece, has to answer questions from actors, design, set, lighting, every department throughout the pre-production, production, and post-production, because they've got it in their mind. They've got to know exactly what they want and what the style and story of the movie is. It's them. They make it.

I like working with directors I respect, who give me freedom but also give me a good base from which to work.

I don't think film is the writer's medium, and so I was interested to see what a director would do with it.

I do have aspirations when it comes to directing, I suppose, but in a sort of a vague way. It would probably come about if I found a project that I really felt passionate about.

I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.

Actors become actors because they loved entertaining their family by putting on the lampshade and dancing around as a kid, ... That's not my personality. For me, the fun part of making movies is seeing it as a director sees it. I like the architecture of movies. I like knowing what's coming and working to set that up.

I'm a very creative person, and you know when I hooked up with Benny Boom, I said I want it to be a different kind of video. I want it to be crisp, and I want it to relate, [and] not to be so far over people's heads. And that's when we came up with the p-t-d-d-d-d-d (camera flashes.) You know with the picture changing, and that's it.