Maria Konnikova Quotes

Story is the primary factor any day. If I believe that a particular director would do justice to it, I will accept an offer.

I started out doing music videos and photography, and I always loved writing. Filmmaking seemed to be a good compilation of all these skills in a way that allowed me to tell a story 'greater than the sum of its parts.'

When you're making a film, you become incredibly close. It's not like you're filing away papers all day. You're creating with human emotions, so you do become very connected, so it is familial and romantic.

It's always tense when you move a character from a book to the screen. Always tense.

Having your book turned into a movie is like seeing your oxen turned into bouillon cubes.

Just telling a story. That's cinema. It's not silent, black and white. It's a simple story that's well made.

Filmmaking is such a collaborative medium.

Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.

I think you are doing a disservice to a novel just by transposing it wholesale onto the screen, because it doesn't work. They are completely different beasts.

Filmmaking is so heavy: there are so many people and trucks and teamsters and costume people and hair people and makeup people. I try to make it light and as simple as possible. It's great for actors. It puts the story up front. It's not about shots and dollies and lighting and sets.

I want to work with great directors and tell great stories - storytelling is the one great love of my life, and it means so much, and we have the ability to change the world by telling stories, and I want to keep doing that.

I make films about stories that I get interested in.

Directing is so dope to me, man, 'cause it doesn't necessarily have to be your material. You're making someone else's material come to life. There's something amazing about that.

When you write comic books and when you are writing for television, you're not writing the end product, you are writing notes for someone else to make the end product essentially. My scripts are just directions for the artist to draw pages and the pages are what is seen. I kind of feel like it's a safety net, you're able to hide behind the art to a certain extent, and in television you're able to hide behind the actors and the production, but with novels, your words are it

I want to do films that provide entertainment, but are also content-driven.

It's always an amazing gift to be able to work with storytellers who 'get it' and who can not only draw anything but can draw it better and more dynamically than you'd ever envisioned.

I don't make movies to make a point; I make movies to tell stories about people.

I have always believed that facilitating good, unusual content should be one of my prerogatives as someone who has spent half his life in cinema.

As a filmmaker, I want to bring some value, some thought in the mind of my audience. When I embark on the journey of storytelling, I am an explorer.

I feel lucky to be able to work with such great filmmakers on such wonderful stories.

As a filmmaker, every tool you get to tell the scene better is important.

I want to make my kind of films but make them work commercially, too. When my presentation meets the director's imagination, the result will be great.

The first 40-50 pages of 'Veekai' is what made it film-friendly. I realised the subject would be relevant even after 50 years.

At the end of the day, filmmaking is all about telling stories, and I'm just doing my part.

If you're not [Federico] Fellini you might make something very vulgar. Animation made it possible to maintain unity with all these different narratives.