Dennis Muren Quotes

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 like working with writer-directors because you can solve problems right there.

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.

I like to come to the set with very strong ideas and strong opinions about how to do things. And I like also dealing with somebody who's like that.

My career has gone in such a way that I've gotten to learn that, when you're working with a great storyteller, you don't ask questions; you just trust them.

As an actor, you have to believe in the point of view of a director; as a director, you have to be able to express what your point of view is and invite everybody to join you on that journey. So it's always about opening up.

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

For me, always, the big inspiration really comes from talking with my creators, my showrunners and my producers, and seeing what is their vision for their project.

I really do see everybody at Marvel Television as storytellers. They might have different titles, but whether they're actors or they're showrunners or they're somebody that answers the phone, all of them are storytellers.

Jeph Loeb has been great to work with, and he's been really supportive of some really bizarre ideas I've had.

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.

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.

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.

I depend on good editors and a good director.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

The director in TV and the writer and the creator are working very much hand in hand.

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.

I'm interested in good collaborations and in working with directors who bring something new and interesting out of you.

The key is to work with people who are passionate about storytelling and who have a similar sensibility of the type and nature of the stories that you want to tell.

I think most co-directors and co-writers just hold hands.

Basically, I see myself as a maker of things who knows how to support other makers of things. At the end of the day, I am just committed to helping put good stories out into the world in whatever role is appropriate and needed for that particular project.

But I'm blessed to work with great people. I collaborate with brilliant stylists both here and in Paris. I work with a great design team. I really allow everyone to bring their ideas. I almost rely on them to inspire me.

Before I ever put anything on paper, Jerry and I would talk back and forth.

It's great, getting the scripts and working with somebody like Sam Esmail, who is such a great leader.

Film is a collaborative art form. If you're not being collaborative, you probably shouldn't be working in film. You don't do it on your own. People who understand that, cultivate that, get the best results.