Eric Stoltz Quotes

I don't storyboard like some. I mean, all directors are different. I plan meticulously - really meticulously.

When you are scripting, the scene, the dialogues, everything comes before you, taking final shape. That is truly the most creative aspect of filmmaking and that is what I enjoy the most.

What I like most about directing is creating a world more so than anything. To me, the music is the wrapping paper on that world.

As the director, I try to go in and know as much as I can about the material. I really try to go in and understand what all the characters are about, what the movie's going to look like.

I started out my career as a screenwriter and quickly discovered that adhering to a script isn't always the best way to make a film. You have to take into consideration the nuances of the characters and what the actors bring to their roles.

I really don't storyboard unless it's an action sequence of some kind, but I plan carefully.

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.

I think with any movie, directing is more in the preparation. You just have to prepare for everything that's going to happen.

My starting point is always to read a script and have a conversation with the director about what their vision is, and then, after that, I love to do research.

I haven't thought about getting into production. I'm interested in the creative aspect of storytelling.

I always start drawing any job by planning out to some degree the locales and trying to nail the characters. If they're existing characters, I'll draw them several times on rough paper just to get a feeling for them. The ideal when you're drawing a comic is to have everything in your head, not to have to refer to notes.

On a very small scale, I kind of understand why the directors that I work with do certain things. I don't consider myself an incredible director. I'm not ready to do movies by any means. But, I feel like I can be a better actress now that I've been on the other side and kind of understand the process and more of the technical aspects of it.

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.

I truly enjoy directing. I enjoy looking at the words on the paper and visualizing how to make them come to life.

You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.

With acting, there's a certain amount of independence you have within the framework of the storytelling. When it's done well, it's a collaborative medium.

I rely upon the directors to fill me in before a shot.

I definitely storyboard, but I only start once I have cast and location. I like to find the world first.

Working with George Miller was an education. It was eight college degrees in character development and directing all at once.

I think I had my answers to the questions in 'The Witch,' and I had my answers to the questions in 'The Lighthouse;' I need those in order to write and direct them.

As a director, you try to find what is creative.

I think all the stuff that happens before the pictures are taken is much more exciting.

As a filmmaker, I'm very collaborative. I don't pretend to know everything that is needed to make a movie. What I like to do is get together with a group of people, starting with developing the story and bounce around ideas.

Making 'Coraline' was one of the great filmmaking experiences of my life.

I spent a long time working in the movies to figure out that kind of acting and also how to write and produce for the screen.