Joseph Kosinski Quotes

There are very specific demands, though, in television, and you notice the budget constrictions. It's the time constraint and a purse constraint more than anything else that you notice. But the ambition of the writing and, hopefully, the delivery of it gets better and better because we want to outdo ourselves to keep ahead of a very expectant and hungry public.

It's funny that some ideas start with a little "What if?" and then suddenly you're spending a million dollars to shoot the scene and hoping that it works.

We mapped out the whole movie, and then worked backwards from that to do these shows. It might not be a movie. It might be something else.

Dean [Devlin, Emmerich's partner on "Independence Day"] and I always said that we'd only do it when we had a really good story that excites us both, and we have the story written. And we've had it for a year and a half, two years. So we've been ready.

These properties that get made into movies, some are easier than others. When they first said, 'Yeah, they're making a movie out of Lego,' I said, 'Lego what? What does that even mean?' And it's such a good concept.

I'm doing a Dylan Thomas film, Map of Love, with Mick Jagger producing again. It's a wonderful script.

I grew up on movie sets, getting to see storytelling happen up close.

From time to time, just about every 'Vanity Fair' writer has a chance to sell rights to an article or a book to Hollywood.

It's so funny, actors usually have a directing ambition. I've got no ambition for directing.

The Hollywood image of the movie business is all about ambition and high achievers like James Cameron. But the British film industry is much more about men who wear cravats and work with model trains and hope another series of 'Thomas the Tank Engine' will be commissioned.

It is important to be financially savvy when you turn producer. As a director, you just need to have a good script in hand.

They're still working on the script - they've got to get that nailed down and they want the first movie to come out obviously, not get too ahead of themselves. But yeah, it's looking good. I love the second book a lot as well, so kind of diving into that is awesome.

Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing 'cause anything can change in a script.

I remember looking through magazines or watching movies even just a couple of years ago and being like, 'I really want to be part of that,' but not realizing what that was.

I get offered movies probably twice a month and they are just generally bad.

I've sold 11 of my books to Hollywood. There are all kinds of my books on shelves in Hollywood because the scripts didn't capture the characters.

You really just have to love the process. I can't tell you the amount of film sets I've been on where people are talking about Oscars in the middle of the production. It happens all the time.

There's always chatter about a 'Chuck' movie. So nobody's opposed to it. It's just a matter of getting everything lined up.

In my business, you have so many things going at once - TV shows, projects, movies - and sometimes, things never actually come to fruition.

If you want to write for films or TV, you must go to Hollywood.

It took us nine months to write 'The East'; we didn't start writing it on the computer until seven and a half months into it.

Finalising an actress is the job of the producer and director. It usually happens only after they are ready with a story.

In Hollywood, they create banks of scripts, whether they are used or not.

I would love to turn producer someday but the time has to be right.

I don't think it's a mistake to put every great idea into the first movie, because I've always said there won't be a second movie if you go 'we'll hold back these ideas for another one.