Marc Forster Quotes

I love reading different scripts and helping create different looks, different environments. Sometimes you go to meet a director over a particular script, and they'll say, 'I want you to do this because I want it to look like Shawshank,' and I'm like, 'Well, I'm not that interested in doing that again.'

When I give over to somebody's vision rather than have an idea of what I need to do, it takes me to places I wouldn't have got to by myself. I'm always attracted to a strong director.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

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've heard it said many times, 'Let's work on the look of the film,' but that doesn't work with me.

The thing about working with Peter Jackson is that, at the end of the day, he is a passionate artist.

I like to come to the set with very strong ideas and strong opinions about how to do things. And I like also dealing with somebody who's like that.

Directors sometimes have good ideas that I wished I'd had, not on rewriting but simply on staging.

Many a fashion designer's career was founded using packs upon packs of Polaroids, and though we love them, we forget that the image quality was often circumspect.

I've always wanted to work with the best directors. Directors lead you to the best material and thus the best actors.

If I'm talking to a photographer, I'm talking to a stylist, I'm talking to a makeup artist, we're kind of creating and collaborating and making something that is artwork and is special and is different.

Walt had a seat-of-the-pants approach on what he wanted musically. We kind of 'read' the boss and had a very high batting average, but there were occasions when he felt we had just written the wrong piece for the situation he wanted. We invariably listened to what he wanted - he was very descriptive in what he wanted and we could read him. We'd go back to the drawing board and work out what he wanted. He was a great inspiration, but a tough taskmaster.

With 'Family and Loyalty,' I didn't already have an idea for that video. So I called Fab Five Freddy. I wanted to get a director that I didn't have to explain Gang Starr to and he was with it.

It's interesting to see what people who you find talented come up with, so you work with them. Sometimes ideas come along quicker cause they'll come up with something and you'll be like, "It would have taken me forever to get to that point!" Because you're talking together, your brains are moving faster.

I think that I'm a pretty great producer, but the vision behind Batman is Chris Nolan. I'm there to do my best to help execute that vision, and I think I do a really good job, but the vision is Chris Nolan.

Joe Wright is incredible and I'm a huge admirer of his work in general, but specifically his aesthetics and poeticism.

My aesthetic is not a Disney aesthetic at all, but when I met with the wonderful producers at Disney, they weren't looking for me to do their aesthetic. I'd already spent 20 years in the theater, so if they were going to hire me, they'd be hiring me for what I have to offer.

I really loved it because it really informed his way of seeing my character and the story. If you look closely he always had this metaphor of an egg, of a little chick pecking her way out of a shell, and in one scene in the kitchen there are all these white plates on a wall and then in the middle there is a yellow plate so even that looks like an egg. And a lot of the furniture was almost sculpted in that way as well. It was really cool to see that.

An Englishman will take you into a large room, beautifully proportioned, and will point out to you that it is white- all over white- and somebody will say what exquisite taste. You know in your own mind, in your own soul, that it is not taste at all˘that is the want of taste˘that is mere evasion. English music is white and evades everything.

When you do a movie, it's like going on a journey. It's really like the director is the captain of the ship, and that energy, everybody feels.

I have a vision for living. It's about elements of style. It's about all the things that I love, that I believe in.

My main interest in being a director, and the most important thing to me, is that world with the actors.

Being movie director you've got the art department, you've got the actors, you've got the camera department, you've got make-up and hair, and props. You've got your finger in all these pies, and you're making sure that everything cooks at the right temperature.

Movies always fascinated me. They are an endless source of inspiration. There are countless images by great directors that made a profound impression on me, and I see film as a sublime example of teamwork.