Jeph Loeb Quotes

Collider is a company that I formed with a movie producer, Alisa Tager, and we just wanted to create a place where writers could come and develop their ideas without a regard to limitations of form.

Great actors help. Every project is different. Sometimes it's completely open, and I've been able to cast who I've wanted. And then sometimes people want a certain kind of actor.

There's no better place to do a longform project than HBO. I loved the creative teams I got a chance to work with.

It is a golden age of television, with Amazon, Sky, and Netflix. They give opportunities to people to develop their own projects together. So much stuff has to be made. There has to be more opportunity.

I am working with writers and producers to have a more proprietary relationship over shows, having more ownership and creative control.

I see BLK DNM more as a creative project than a traditional fashion brand. The world doesn’t really need more Fashion Houses. I want to create something different – to be able to collaborate with great creative minds and thereby stretch the brand in different directions. I also believe that a brand should offer deeper content in this era. After all, the only reason to do all of this is to create energy and to inspire people.

I discovered very soon, especially for movies, because I started in theater, that every director has his own universe. You have to be free enough to try to understand what he wants from you. Especially when that director has a tremendous personality. And I'm talking about people like Pedro Almodovar and Robert Rodriguez and Quentin Tarantino and Woody Allen. And you have to adapt. If you don't adapt to them, you are off the thing.

I'm happy whenever anybody does my material. I don't care what they do with it. I do what I want to with other people's songs.

We kept moving forward, kept pretty particular about certain things. Don Handfield is really great with story, so we kept working on it from that angle and developed a lot of IP over the years, which we became very proud of.

A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.

In other words, when you have someone [like Ridley Scott] with that authority, then you tend to be left alone. But they were good and they're really good people, and I'm a big champion of the BBC and I think that like minds find each other and I think that FX and BBC is a perfect match.

We [with Neal Dodson and Corey Moosa] were constantly looking for features and looking for ways to get involved with people who were making stuff.

Film is a collection of many mediums and collaboration and you're only as strong as the people you're working with - and everybody owns their mediums.

Movies are grander, with (in my experience) more heavy weight chefs in the kitchen: the studio, the producers, the writers. All of them get to weigh in and you have to listen to all of them because they hired you. With TV, it's a way smaller scale, with only a few people weighing in.

Matthew Vaughn phoned me up and he said, "Hey, listen, the movie has just done gangbusters. We've got to do the second one." And I was like, "Matthew, I have no second book. Dave and I haven't done it," and he's like, "You're kidding!" He said, "This movie's just made $420 million!" I was like, "...We've got nothing." So the amazing thing was, because we own the rights, we still get paid and everything, which is fantastic.

The definition of leadership is that you have to find great people and ask them to do extraordinary things. I've been doing that my whole life.

The studio's a collaborative environment. I just try to let people bring their own ideas to the songs and see what happens.

Recognize the skills and traits you don't possess, and hire the people who have them.

I really enjoy directing television because you get to work in so many different genres and with different people.

In some ways, many of the skills you have as a producer on independent films also apply to making big tentpole films: You surround yourself with a brilliant director, great script and talented people in every department who are smarter than you.

That's kind of how I've based my career. I find talented people and beg me to let me work with them.

Advertising agencies come to you and they are great fans, they are great creative people themselves, but they ask you to do something, and you say, "Well, we will, we'll create something together." And it is work. It's like you're doing something and they're saying, "Change this" and "Change that." It's not hard, horrible work, but creatively it's not just freedom.

It's true that I don't think I'd be a good director. If I were a director, I'd try to hire the best people I could and then leave them alone. I don't know much about cameras or lighting, so I'd make sure that I had a really good cameraman who understood lenses and lighting, and I say to him, "This is the scene we have to shoot and this is what I think it should be, you go do it." Same with actors. But really, very good directors who know everything do basically the same thing. They hire you and then they leave you alone.

I'm always surrounded by smart talented people. I had talented partners. Stan Latham for one. Talent scouts.

When I'm working as a director, I might have an idea of my own but I'm also trying to get great ideas out of my actors. Directing is much more psychological - it's a lot like being a general. And you have to be organized. While you're making a film, you have between 2 and 500 people asking you a billion questions.