Marc Forster Quotes

I've never had a working relationship like I have with them. I developed a lot of the design of this show with them. That conversation was about, "What are your needs? What are you looking for? Will this work for you guys? Will a show work where you've got one episode per character?" They really were a creative partner.

I have a hard time visualizing anything, which is why I'm not a director, and which is why I try to work with ones I know have a strong idea in mind.

I am very excited to work with people who have a strong vision of what they want. They're trying to tell a story, and they want to use me. I'm there to facilitate that. I really like that. I'm like, "Tell me where your frame is. Tell me what you want, what kind of story you want, and I will facilitate it." That's sort of my job, and it makes my work better when I'm working in that kind of a frame, and hopefully it's their work. It's incredibly collaborative, in the sense that you're working toward a common goal.

My approach to working in movies is to empower the director to have power over me and to really support his vision because he's the guy, at the end of the day, who's going to put it all together.

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

Nobody engages in a film, regardless of what your job is in it, to make a bad one.

One of the things that is particularly precious about working at Apple is that many of us on the design team have worked together for 15-plus years, and there's a wonderful thing about learning as a group. A fundamental part of that is making mistakes together.

That's what I've always wanted to do - work with my favorite writers and make something from scratch with them that we can feel like didn't exist before we came in the room.

The producer, in effect, has to work as a translator. You form a very tight relationship with the director and writer from the beginning, and then you are constantly communicating to the various people that begin to come into the process, as you are trying to manage to hold on to a vision that needs to be communicated over a long period of time.

That's what I learned most about directing on my own - you've got to build a family, a filmmaking family.

You have to have that core creative team around you who's going to support your vision, and challenge and evolve it.

This idea of collaborating with designers - that's something I can identify with.

In 'Stree', I had a great time working with the whole team and Dinu, being the producer and one of the most important people. And now we are doing another film together, and I'm sure there will be a couple of more films in the future.

I work with an amazing team - I have a stylist and a hairdresser and make-up artist who are always wondering what I am going to do next!

The thing about working on a Ryan Murphy TV show is that he has such an extraordinary collective of artists, so everyone is really like a family.

I think filmmaking is a team work and it's a shared responsibility.

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

I think there is more cohesion when you have one director on set.

Mike Schur knows exactly what everything should look like but, at the same time, is super collaborative and loves working with actors that make choices and bring stuff to the table.

I'm like a conductor. I come up with ideas, and I get all these people to make great music together. I have a team of really talented assistant designers. I have architects in my office. People I trained from the beginning in menswear, womenswear, and home. I have a great team who know what I want and feel and translate that into beautiful results.

I don't care if it's Dr. Dre or Dr. Luke or Brian Eno. When you're in a studio and making music together, it becomes pretty apparent if you see eye to eye.

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 would say the most important aspect of direction is that you, as a director, and your producer need to be on the same page, the same line of thinking. If that doesn't happen in the beginning of the film, then that will show in the final product 100 percent.

We tend to see films as artifacts of one mind. The reality of it is, I think, when you come out here and start working, you have to learn pretty quickly that it's a very collaborative process.

Behind every big artist, there's a big team.