Stan Lee Quotes

There's nothing wrong with technology. It's when technology is the story and not the artist, that's the problem.

A lot of performing instincts are involved in the business of direction, but so is analysis and having a sense of literature.

Audiences are very willing to be taken somewhere, and to ask an audience beforehand what it wants is probably, I think, a mistake. Much better you should tell them what you want and hope they agree with it.

I want to direct, I want to be part of something creative, something with quality.

I don't try to show off technology in my work. The technology is a means to tell stories, so I think conversations about my work can be had by very large audiences.

I'll tell you what I love about directing: the surprise. You never know what's going to happen with your piece until an audience weighs in.

It's different being a director. I suppose, especially if it's a story you've written and you feel compelled to tell, in some ways it's a lot easier than acting because you're orchestrating the piece. As an actor, sometimes you're trying to second-guess what people want.

I want my movies to be audience experiences. As much as I like Michael Haneke, I'm not going to make a Haneke film. That's just not in my DNA.

Our responsibility as filmmakers is to make things that are fresh, unique and original.

The business has changed, and some people can keep talking about theatrical in these wondrous terms - it will survive, but it becomes narrower what you can make. So the films I'm most interested in, studios - or even the independents - aren't making them. I'm mostly interested in people.

I've liked all the directors I've worked with a lot. And the ones I like best are the ones that have really good taste about what take was best.

I have always believed that facilitating good, unusual content should be one of my prerogatives as someone who has spent half his life in cinema.

Even when he transposes Roald Dahl's 'Fantastic Mr. Fox,' he injects so much of his own personality and his own world that it becomes a Wes Anderson story, and you forget that Roald Dahl is behind the story. That's the proof of great directors to be able to digest and recreate sometimes a classic.

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.

Technology adds nothing to art. Two thousand years ago, I could tell you a story, and at any point during the story I could stop, and ask, 'Now do you want the hero to be kidnapped, or not?' But that would, of course, have ruined the story. Part of the experience of being entertained is sitting back and plugging into someone else's vision.

I think when you make a movie, one of your main focuses as a director is to inspire everyone else to give their best. Like manipulation.

Audiences are harder to please if you're just giving them effects, but they're easy to please if it's a good story.

My job is not to try to give readers what they want but to try to make readers want what I give.

The movies I make and my interests are always about pushing the technology as far as we can in support of telling great stories and showing an audience things they haven't seen before.

In the best of all possible worlds, directors would obsess about the quality of their storytelling, and not the details of their technical methods.

The audience has spoken. They want stories. They’re dying for them. They’re rooting for us to give the right thing. And they will talk about it, binge on it, carry it with them on the bus and to the hairdresser, force it on their friends, tweet, blog, Facebook, make fan pages, silly GIFs, and god knows what else about it..

I didn't have any set idea of what kind of filmmaker I wanted to be. I knew I wanted to tell stories that meant something to me, but I never said I was going to be the weird, avant-garde guy.

We [with Neal Dodson and Corey Moosa] spent a lot of time writing, for lack of a better word, this manifesto about what we wanted to do. We wanted to find work that was relevant socially and that didn't take audiences for granted.

HBO does something that most networks don't do which is give a show a chance to find their voice.

I always believe that every song tells a story, so the last thing I want to do is edit out like the meat of the story. I would pick songs based off a), whether I felt like I could do anything with them, and b) whether I felt like I could keep the story intact. And then you sit in with one of the piano players and one of the vocal coaches and kind of work out your arrangements that way.