Mark Waid Quotes

I don't design cars. I'm not a designer. I know what I desire to be built, I know what the end result is, the horsepower, the competition we'll be working against - but I leave it to the people who work with me to put it all together. I don't do anything.

I produce the way I would love to be produced: In ways to create the best conditions to make your movie, but also to create a space in which the director calls the shots.

Listen, my day job is also Chief Creative Officer for Marvel, and it's a very painful job because we publish a lot of books, and there are things I see where I can punch people out. Therefore, we have some new people now, and the kids are going to read our books.

If I can find the right idea, I can get out of the way and do a good story.

Actors are like kids, they need to play a little bit. And that's the nature of their job, they need to shake off some energy and then you as the director get them back on track. When you do loosen up the reins, you get some amazing things, but you have to wring out the performances for every last good drop.

In the new workplace, with its emphasis on flexibility, teams and a strong customer orientation, this crucial set of emotional competencies is becoming increasingly essential for excellence in every job in every part of the world.

Larger game teams are often a bit more experienced at working with writers, which is often a huge relief. However, it also means that there are more people wanting to wander around the narrative kitchen telling you how you should be making your story pies.

Dark Horse movie might be blood, sweat, and tears for Todd Solondz, because things are so important to him and so specific. He has such a rhythm and a tone. So while he may have to work so hard to keep that intact, it allows the actors the freedom to just breathe. Because he's done all the heavy lifting. He really has. He has everything the way he needs it. And so we can just get there and be whatever he saw in the audition.

You'd like to see your team reasonably happy, but that's not your job. Gain their respect and get them to accept their roles

As the filmmaker, yes, I have to look out for everybody. But I don't have to know everybody's approach.

You see the assets of your actors and you see their strengths and you try to play into them. It's like I feel part of my job is as a coach. I'm putting a team on the field and you want to formulate how to make the best game out of these players.

There's no point in it unless it's a story that you really want to tell. It's a nebulous job. Unless you're doing it well, you're not doing anything. And there are a few of those. It's perfectly possible to be a passenger on a film set because if somebody else has written it, you can make nothing of that role and that's exactly what bad directors do.

The coach's job is to be part servant in helping each player reach his goals within the team concept.

A director is what a director wants to be. If you want to force something, you can fight to the death and maybe get fired, but it's your job to help push things along.

Working in the context of ultra-famous brands like Dior and Vuitton, creative spirits are always going to feel reined in. It's important that they are free to develop ideas. And rather than detracting from the principal job, it reinforces it. I think of that money as venture capital. It's not a big investment.

Directing a movie precludes me from being involved in any greater way. But, the job was never to do more, it was always to enable. Sometimes as a producer, you're creating and writing it, or sometimes you're writing and directing it, or other times you're there from the very beginning.

I think you have to be ready to switch gears and go with the team as a director, as opposed to superimposing your own strict idea of the story. There are very few directors that can micromanage and still come out with something that's living and breathing on a page. Wes Anderson is one of those.

I like directing much better. It's more fun, that's all there is to it. It's essentially the same job, which is storytelling, but you have more control over the way you want to tell the story. It's a high. I love it.

The best way to create a winning team is to train them, give them everything they need to get the job done and second, make sure they know what the job is and what the job will be. So you connect strategy to resources.

The 2002 (Olympic) team was a great team, we won the gold medal, they deserved all the accolades that they got. But this team seems to have a little more depth and maybe a little more talent to pick from. So it makes the job of picking the right 23 guys even more difficult.

My production team doesn't like not knowing what anything is going to look like, but creatively, that's fun.

As a producer, I really get to tell stories that I care about in a way that I want to. I get to shape them. I get to choose the collaborators. That's really gratifying as a storyteller. And also, frankly, it's really fun to create jobs for other people.

As a producer, you really have - you're able to hand-pick all the talent that you want to be surrounded with.

Your job as an executive is to edit, not write. It's OK to write once in a while but if you do it often there's a fundamental problem with the team. Every time you do something ask if you're writing or editing and get in the mode of editing.

When it is going well, it is the best job [writing] in the world. For those few hours, you are god, in control of everything. However, for me, the great joy of writing is that it has allowed me to travel the world in search of stories.