Roger Avary Quotes

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

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

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.

The first and primary requirement for me in a director that I'd want to work with is: do they love writing, and do they love the collaboration process with writers?

To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.

Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.

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.

A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being.

I think TV is much more the writer's medium and film is about the director and their vision and how you can collaborate with them and see that through to the end. They are so different.

No great television show has ever rested on just one person. They're all about great ensembles and storytelling.

This was a really big opportunity. This script was even mediocre. The idea was great, but Jay came on with his guys made it great and very specific. It all came together well.

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

In television writing, even if you're running the writers room, it's a writers room.

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

Whenever you do a film, it's always like a little miracle. So many people getting together trying to do something so that the audience can be entertained.

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.

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.

I'd love to work on a script in collaboration.

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 love involving actors at all levels - and they have to know that I want to hear their contributions, with dialogue, with story suggestions, with script changes, whatever.

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

In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.

I depend on good editors and a good director.

The filmmaking process is a team effort. A screenwriter cannot possibly do exactly what he wants as if he was writing a novel.

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.