Seann William Scott Quotes

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.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

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

Ever since my first film, I had more producers than scripts. And I've realised that a certain project requires a certain kind of producer for it to be made well.

Any story, any screenplay can only happen if the whole unit is professionally working towards it.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

I think the community that's created within a writers' room is a very interesting topic.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

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

But I'm blessed to work with great people. I collaborate with brilliant stylists both here and in Paris. I work with a great design team. I really allow everyone to bring their ideas. I almost rely on them to inspire me.

TV writing is tricky to navigate because you have so many different personalities - the actors, multiple producers.

My career has gone in such a way that I've gotten to learn that, when you're working with a great storyteller, you don't ask questions; you just trust them.

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.

Part of what I love about producing is to get to work with writers.

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

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.

I really do see everybody at Marvel Television as storytellers. They might have different titles, but whether they're actors or they're showrunners or they're somebody that answers the phone, all of them are storytellers.

I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.

It's always about the project itself than a character for me. It's all experiential.

I like working with writer-directors because you can solve problems right there.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

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.

I think of myself as a problem-solver. I want to go in and help the director and the writer to get the best they can out of the text they're working with.

I love creating partnerships; I love not having to bear the entire burden of the creative storytelling, and when I have unions like with George Lucas and Peter Jackson, it's really great; not only do I benefit, but the project is better for it.