IronE Singleton Quotes

In Korea, the director is on top, and the power flows down vertically. On the set, I love to come up with ideas on the spot. But in Hollywood, if I were to come up with a certain idea on set, the idea had to be taken to all these different people who had to agree.

I'm absolutely open to scripts written by someone else.

From now on, I will work with other people's material if it fits where I want to go.

I have to be more universal than my projects, but no less innovative.

As a writer, you're really in control of almost everything. That's not the case in TV. You have to be prepared to work with a lot of people to make something happen, and you got to be prepared, at least in the beginning, to not be too good at your specific task.

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.

Vince or Brad or Benicio would say, Maybe we should try this, and Guy was open to changes.

A good director's not sure when he gets on the set what he's going to do.

The writing is really hard. You're alone. It really pulls it out of you. You pull it out of your head. But when you're a director, you're shopping - you're picking this actor, you're picking this scene. It's like the most intense kinetic high-speed shopping of all time. You sit in a chair and it will all come rushing at you like a wind tunnel.

There are a lot of global decisions that you can make as a co-publisher, and only publishers can make those kind of decisions. At the same time, there are some things you can do only as a penciler or creator. I want to keep my hands in both pots, so to speak.

One of the nice things about the world of filmmaking is that you make friends in the business. Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.

And I think being a good director is being able to be completely tyrannical and you've got to be an absolute dictator while at the same time, you have to listen and see everything because it can all change on a dime.

I like talking about comic book process, and one of the things is that I have plans going ahead for years, and the plans constantly get thrown away and shifted. There's a difference between planning and what actually happens in life, and comics have a life of their own.

But I also think that the more you reason collectively about what the project should be at the beginning of the process, the more you can improvise later.

Whether I am collaborating with different people, I like changing projects conceptually so I can grow.

No one ever contributed anything to my designs.

You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.

I think it's always good for the author to stay a good cattle prod's distance from the actual moviemaking.

Pretty much, I am always open to input from everyone; although I don't require it, the feedback is conducive to getting the play together.

Even when I'm not directing, that doesn't stop Owen from having ideas for what I should be doing.

One of my favorite things about 'Castle' is the fact our writers and producers are so collaborative. They allow us to bring in ideas, and they try to make them happen for us.

When you make new musicals, you have the great freedom and the great burden that it can be changed.

I quite like the element of surprise, and as much as I have my ideas, I always appreciate ideas that come from other people as well, and I love the mystery of not knowing.

I leave a lot open so I can fill it in later. If I don't have any ideas right away, I can fill it in later.

I do outlines when I'm writing with someone, but they also need to have a certain amount of freedom.