Hans Zimmer Quotes

Your director is your everything and you devote yourself to them and you want to help create their vision.

I'd love to work with Paul Thomas Anderson or Quentin Tarantino, but these are dreams I don't need to rush to achieve. I'll be ready to make those movies when I'm ready to make those movies and they're ready to make them with me, if they ever want to.

There are directors that I want to work with and that I admire. You can love a script, but if it doesn't have a good director, it won't be that.

I'd made these experimental films but I thought the major chore of a filmmaker was to relate to actors.

To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.

I would love to work with Tim Burton. I think we would be very good together.

I love that first-time feeling that I can't build in myself anymore, where I can learn and emulate other filmmakers. Be it Ayan Mukherjee, Punit Mahotra, Karan Malhotra, Tarun Mansukhani or Shakun Batra, all of them have taught me something or the other.

I think my best work has been in France with great men. It's been my great fortune to work with really great men - with Olivier Assayas, Raoul Ruiz, Jacques Rivette. I am tutored by them.

For me, my films are not like my children. They are like my ex-wife. They gave me so much; I gave them so much; I loved them so much; we part ways, and it's OK, we part ways.

The opportunity, number one, to work with Ang Lee is an amazing thing for me.

I never made the movies for the critics; I've done the best I could with the material and the directors and the actors I had. But the thing that's really exciting is that once I do that one project that's different, that stands out, everyone's gonna be watching.

As a director or writer, you have to be so controlling.

Most actors go, 'I read the script and fell in love with it'; I fall in love with the directors.

It's the director's job to piece together my performance, his interpretation of my takes, each take, and string them together and make a statement. I'm red paint on a canvas for a painter.

It's one of the things I love about my job: it's my job to help a director tell the story, to just be willing to help.

The vision people have of a director is completely flawed - someone with a crystalline vision of everything they're going to do. How boring would that be? It's a creative and collaborative process.

As a director, you want to work with great writers.

I really want to work with Mike Leigh.

Ultimately what I try to do is work on stories I love with people I admire, and sometimes they get made and sometimes they don't.

That's the best way to work on a project: talk to the director. In the end, it's the director's idea of how they perceive the movie and how they perceive the characters.

Nobody on Earth does a project by himself. So you have to make sure your team is intact.

I can work with both the old, revered filmmakers and new directors. It is amazing how they see me in their world, and then I adapt accordingly.

As a screenwriter, you always have frustrations. It's just the nature of the job, and you have to live with it. Your vision is not going to be the same as the director's vision. It doesn't mean one is better or worse; it means they're different.

I've always envisioned working with the best directors in the world.

The whole thing of working in collaboration with filmmakers is the thing that I love the most, and possibly the thing I do the best.