Robert Schwentke Quotes

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.

To get the film in your head on the screen, first you have to take it out of your head and explain it to everyone who is working with you. This will take work and planning.

Filmmaking is all about people management.

'Bahubali' did not happen overnight. The producer Shobhu Yarlagadda, Prabhas, and I kept talking and discussing and imagining.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.

What you do is get the right director and the right screenwriter and the right cast. It's a fantastic job.

My dad always produces, and I would always sit in producers' meetings with him. I like the whole thing of putting a movie together. I think that's very exciting.

The great thing about being a producer on a project is that you get to see the ins and outs of every piece of the puzzle. There are so many elements involved in every aspect of a film's development that I don't think the average person is aware of, which is, I guess, why the whole process is referred to as movie magic.

I think I've had pretty good experiences for the most part with the people who have directed my screenplays.

Making a movie is a lot of problem solving.

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

I got involved in script development from the beginning. It was nice to see how a film gets made right from the beginning. It was quite hands-on for me.

I worked with Steven Spielberg on 'AI,' and his level of preparation was extraordinary. He told me there was a time at the beginning when he was a bit more spontaneous and went over budget, and it absolutely wrecked his head. When you look at the power and assuredness of his movies, it makes sense that he works out so much in advance.

It's much like writing a screenplay with someone else and that's how we view it, I think.

I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.

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

I enjoy co-directing or even being there just for support because you get to see your script come to aural life in front of you.

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

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.

Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.

I love the process of working with a filmmaker and the writers and the actors.

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.

Everything is always against you when making a movie, and if you don't have a solid blueprint that the entire team can get behind and understand and then execute, then you're going to be lost on the set.