Nick Kroll Quotes

If you let too many cooks in the kitchen it could cloud your vision of what you want to do.

I don't feel the need to direct. I tried to get other people to direct Dances, but they wouldn't do it. They all thought it was too long. One director wanted to cut the Civil War sequence. Another thought the white woman was very cliched.

I went through a string of A&R men who all thought I should be doing something different. One thought I should be a dance diva; another thought I should do Rock n' Roll; and one thought I shouldn't even be singing at all!

You're in a profession in which absolutely everybody is telling you their opinion, which is different. That's one of the reasons George Lucas never directed again.

Many times I felt like I'd do better than what the director did, but some of them got a little discouraged because they didn't have full charge of making the film, and sometimes there'd be battles of egos.

It's very bizarre though when you get hired and then the director will say, "I know how this goes." And you're thinking, "Wait a minute, I thought that I was doing this" but basically what they really want, especially if they wrote it, is they want you to do it as they imagined it. It's virtually impossible.

As a director, I'm not the one animating every frame, every shot. I'm moving around like a surgeon on rounds, or a farmer checking in on all the plants being grown, pruning and adjusting. For me, it's a very exciting job.

Most bands don't work out. A small unit democracy is very, very difficult.

Every show I've ever, you know, produced, essentially it's the show I want to watch myself.

When I was in pre-production for Trees Lounge, I was hearing the cinematographer talking with the production designer about colours and this and that, and feeling like I was losing control.

I know that sometimes the chemistry just isn't there between the model, photographer, hair and make-up. It's nobody's fault and you just have to do better next time.

I allow people to create, but I'm also marshalling everybody, which is difficult for my creativity, as I'm like a referee. Everybody else is kicking a ball. It is very messy. From the mess, though, you refine what is there.

Being a producer, I deal with a lot of different directors, and some of them would drive me insane with all the different histrionics, and the mystique that they carry.

There's no such thing as an actor giving positive criticism to a director. The minute you say 'Don't you think it would look nicer...', that director's going to hate your guts. Particularly if it's a good idea.

When I started 'Hudson Hawk,' I realized I was dealing with a strong-willed producer, a strong-willed actor, and, at times, a strong-willed studio, and I was the junior partner in all of this - the guy who hadn't proven anything in terms of box-office success.

Well, I think one of the problems with 'Birds of Prey' was there were too many cooks in that kitchen. The studio, the producers, the network, all had very different visions of what that should be. They should have just let Laeta Kalogridis control that. Instead they decided to try to get their hands in the mix.

I have a very clear vision, and I come from film, where director is God, so if there's a clash, it's painful.

When you get to know an artist, you find out the things that have peeved them over the years, and it's generally the stuff that has to do with somebody not wanting to do things their way in the studio.

I just really want to make a good show and make it as interesting as I can, and anything else is kind of above my pay grade.

I can count on one hand the directors who actually directed me.

It's often the case with directors that they don't like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.

Princess Rose should indeed be a TV movie, assuming something doesn't go wrong. I don't know how good a movie it will be, because the way movie folk think is different from the way writers think, and I distrust what isn't done my way. This is what I call a healthy paranoia.

I had a sort of bad experiences as a playwright early on, when directors were putting in huge concepts that I didn't intend, or they were stylizing something that was compromising the play, so I started to think like, 'Well if I'm going to fight against this, I should learn how to direct.'

All I can say is that with 'The Golden Compass,' I didn't get to make the movie I had planned to make. When I look at the film, at the casting and certain scenes, I'm very happy. As for the final product, I can't vouch for that.

When I did 'Stardust,' I was fighting the studio for things I believed were right.