Shane Carruth Quotes

Producing is very much like running a business, where you find the project, you find the different people involved, you put the elements together, and you make sure they all work together well.

I have stories that I'd like to maybe one day consider directing, but you need a lot of time to write and put it together.

The way that I sort of direct the writers is, let's do the best story we can. Let's not worry about production issues. 'How much will that cost? How are we going to shoot that?' Let's not set up those constraints on the writing. I don't think it helps the project to work like that.

I think any filmmaker looks back and thinks, 'Boy, if we only had four hours more on that day when the sun was going down,' or, 'If we only spent more time and went back.'

Ever since my first film, I had more producers than scripts. And I've realised that a certain project requires a certain kind of producer for it to be made well.

I'm not Akira Kurosawa. He used to write...He used to write a completely new spec script over a couple of nights. I'm not like that. It takes me a long time to put a film together that I want to make.

Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.

I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.

My point was that it's hard to make good films, but I'm not under any illusion that you do all the time.

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 think the toughest thing is to describe what a producer does because they basically do everything. They follow a project from the start through the rest of its life and, along the way, are a part of every single aspect of its growth. It's tremendously enriching, though, because you get to know and live with the movie in its entirety.

Studios are an assembly line. They can be a very good assembly line. As a producer, you concentrate on one project at a time. As an executive, you're in charge of a slate.

Scheduling is always tough, no matter what the budget size is, and we had our own run-ins with that on 'Fading of the Cries.'

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

I think people forget that a lot of directing is just real management of the size of a production.

I want to make my own films from my own scripts based on stories I want to tell, but they take time to put together.

It's sort of one ongoing process where writing ends and directing starts.

I always write these movies that are far too big for any paying customer to sit down and watch from beginning to end, and so I always have this big novel that I have to adapt into a movie as I go.

You have to pace yourself. As a producer, you start with a concept and shepherd it through the script to the delivery of the film. It's a very long journey for an hour and 40 minutes of movie.

Every project that you write about or read about, it goes through years of hard work. We write a screenplay; we design. Then you submit those and the budget, and it's out of your hands.

I take time to write my script, if I have more scripts, I will make more movies.

A producer friend of mine from film school had read some of my early screenplays - some experiments I had done to see how fast I could write something.

For me, doing all the TV stuff and having the experience directing, knowing what you want to make is 90% of it. The rest of it is just guiding everybody on that one path. But, figuring out the path is the difficult part.

We encourage our people to build their ideas from scratch, and we give them the resources - and, crucially, the candid feedback - that are required to transform the first wisps of a story into a truly compelling film.

All too often on film sets, what happens is everybody gets worried about an actor being sick, a car not turning up, or the weather not being right rather than what we're ending up with onscreen.