Rana Daggubati Quotes

Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.

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.

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.

Getting your screenplay right is the most important thing you'll ever do on your film.

I think what makes a good actor's director is the same thing that makes a good director. Acting is just one of the trades necessary to make a movie.

I know 'Dabangg' has some pre-requisites. Every film has some requisites that you have to fulfill. I sat down with my writer and discussed what as an audience I want to see in the second part of the film. We worked towards that and we hope what we thought connects with the audience.

The Braintrust developed organically out of the rare working relationship among the five men who led and edited the production of 'Toy Story' - John Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, and Joe Ranft.

With the first 'Toy Story,' we didn't know what the hell we were doing. We'd never made a movie before, so we went down a lot of blind alleys along the way. We went through seven different writers before we finally settled into our groove.

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

Although Bill Finger literally typed the scripts in the early days, he wrote the scripts from ideas that we mutually collaborated on. Many of the unique concepts and story twists also came from my own fertile imagination.

We start with strong characters and build the movie from there. That not to say we don't struggle with story - that's the most challenging part.

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.

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 think the toughest thing is to describe what a producer does because they basically do everything. They follow a project from the start through the rest of its life and, along the way, are a part of every single aspect of its growth. It's tremendously enriching, though, because you get to know and live with the movie in its entirety.

Making a movie is a lot of problem solving.

One of the things I really love about TV is this symbiotic relationship you can get between the writers and the actors, and the characters start to come to life because you start to collaborate.

Every Pixar film, when we start developing the story, it takes about four years to make one of our films.

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

Before I ever put anything on paper, Jerry and I would talk back and forth.

Working with and collaborating with and for Peter Jackson was an incredible experience because he is such a phenomenal filmmaker.

There's nothing more important in making movies than the screenplay.

I like to do a movie, to be on it 8, 10 weeks. It evolves as you're working on it. Little things come to you every day. It's a slow process, and when you have to pack it into a short period of time, which you do for television, the experience is not one that I cherish. So if it's going to be television, it's really got to be the right thing.

Schepisi is the sort of director who could, would, and frequently did phone me whenever he came across a textual problem.

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

I leave the story room to grow into what the movie is driving me to do.