Ludwig Goransson Quotes

I'm always trying to find something unique or a project that I can do something unique in. When the director has a vision for a piece that I've never heard before, and they can back that up with visuals and they talk a good game, I get really interested in the world that they're trying to create.

I like working with directors I respect, who give me freedom but also give me a good base from which to work.

The reason I wanted to start directing is that as an actor I felt I came into a job late. There's a whole team of people who have been working on it for months before you start. You have this really intense period of filming and then you leave it, knowing that the director will work on it for another few months.

All the director wants is their idea of the movie to be believed in.

I paint objects as I think them, not as I see them.

In truth, I have always been amazed by a group of people who all work toward putting one person's vision forward - that's an interesting story for me.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

I'm someone who has always been quite clear about what I like. In the studio, I'm not a control freak but I know what I want.

I'm wary of artistic directors who say, 'Here is my vision', because it's empirical. Basically it's about who you work with and what plays you put on; the vision comes out of that.

I'm not an art director; I'm just not. I've always been somebody who has a sensibility that I hope is the same sensibility of others.

To put down an ideogram of a table so that people will recognize it as a table is not the work of a painter, but to sense it for a moment as a magic carpet with a leg hanging down at each corner is the beginning of a painter's imagination.

A film goes through so many hands, that by the time it's done, it might not resemble what you thought you were making.

When we make the show, we are always talking about how the show is really in between what we make and what the viewer thinks of it.

I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person's is going to be different, every book reader.

I think there's a tendency with actor/directors to imagine themselves playing every part and trying to get people to follow their rhythm, their tempo, their pace. I've learned now to just love being at the center of this creative swirl.

I'm a comic book writer, so I work with a lot of artists. Sometimes, you get art back, and you're like, 'Oh, no.' Sometimes, you get art back and you're like, 'That's exactly what I imagined in my head,' and you're happy about that.

It's really empowering when, as an artist, you can visualize something and then have the final product turn out the way you wanted it to.

Ultimately what I try to do is work on stories I love with people I admire, and sometimes they get made and sometimes they don't.

I think when I work with artists, I'm at their service, and I'm at the service of either their vision or a vision that we find together and we share.

With 'Pity Party,' it's the first time seeing my vision come to life in front of my face. I'm super happy about it.

One of the great kicks of having a movie made is that you envision this world.

I just see potential in things that aren't there and how it's going to make you feel. Like, if it makes me feel a certain way, I try and create the vibe of how that felt to me. And try and create it for someone else.

Michael Bennett, Tommy Tune and Agnes de Mille fought to be director-choreographers. They were just not going to do it any other way because the choreographer is so often at the bottom of the creative totem pole when you put a show together. So with that power you get a more direct point-of-view and that helps something called style.

No film ever ends up exactly as you would like it to, but with minor exceptions, THX came out pretty much as I had visualized it, thanks to some excellent assistance -- and a whole lot of luck.

I like working with directors much, because I want to be able to give myself completely to their vision. Otherwise I would only do what I could do, again and again. I want to be taken by someone in a different direction.