Drew Goddard Quotes

When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.

All the director wants is their idea of the movie to be believed in.

I don't believe that an animation studio should be an executive-driven studio.

It's the reality: film is a director's medium, and, ultimately, they are the ones that are in charge, and you have to respect that because somebody has to be in charge. But, yeah, you do reach a point where you want to have your voice come out.

There is an isolated experience to being a director. It's very communal because there's a crew, but it's only you. You're the one on the hook.

All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.

It is great to have your own label; you can cultivate your own artists... I've worked with pretty much everyone I wanted to.

When you produce and direct, your movies are different to you. They're not just something you act in.

As an actress you can participate, you can be a co-author, help the director. But I always wanted to be able to make the big decisions.

The big difference between the radio show and the TV work is that I don't have to work by committee on the radio show. I'm the DJ; I can play what I want and suffer or get praised by that. With a TV show, it's much more of a collaboration, and the song that I might think is perfect may get shot down and vice versa.

In general, I don't feel artists should need producers.

I was the only person at Univision who had complete creative control of my own show, by contract. They didn't like that. I was the executive producer; I owned the studio where we taped. I decided who went on my show and who didn't.

I'd like to be a director who gives my actors complete freedom while collaborating with them to find performances.

John Sayles is good. He's like a good thoroughbred owner - he leaves the trainers alone.

The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.

Films should involve a director's idiosyncrasies as much as possible I think.

I think that, again, filmmaking is the director's medium in the end, and the best thing a producer can do is stay out of the way and support the director one hundred percent.

I always say I want creative control. A lot of people don't think about that. And that's what every artist should think of - being creative and not just a puppet.

The key is you don't want to control the controlled stuff too much and you don't want to be too free flowing in uncontrolled situations. That can be a contentious issue with some directors. The joy of my career is I've gotten to work with great directors who get that balance.

I follow the director's lead because they generally know more about the big picture, but I also trust that the director will give me enough freedom to play.

I was always going to direct. I wasn't going to hand my characters over to anyone else.

Scorsese has very defined ideas about how to shoot a scene, and he's an editor himself - we cut together. It means he's constantly thinking about my problems while he's filming.

It's directors' choice if they want to work with me. Not mine.

There are directors, and I think this is true of all directors, it would be true if I was a director - If the actor didn't want to do what I was suggesting, I would let him do it his way, and then I would say to him, "Just give me one where you do what the director wants", and that, of course, is the take that's used.

Any time you turn off and let someone else make any artistic decision for you, you make a mistake.