Alejandro Gonzalez Inarritu Quotes

Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

You never know when you read a script how it's going to turn out because so much depends on the collaboration between people. If I'd been in some of the movies I turned down, maybe they wouldn't have been a success.

Most of the scripts that land on my desk are stuff you read and go, 'Is someone really gonna make this?'

It's good to work with a writer-director.

Whenever I hear the narration for a new film, I have this process back home where my mother reads all my scripts.

For me, it's important that the script is good. Then a good director will want to make it.

Film is a collaborative medium, and I very much enjoy that.

I get so many scripts a day but none of them inspires me. If I get a good inspiring script, then I will be most happy to make it into a film.

I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.

I structure the scripts and work on them on films and work on scenes with writers and but I haven't written a script myself, I really respect what they do and I'm fortunate I get to work with people that I really enjoy working with and we all kind of spitball and work together on these things, but I haven't written a script yet.

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

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

On a film, you start to get closer and closer with the people you're working with, and it becomes like this circus act or this travelling family.

Acting's fine if the script's written by Paddy Chayefsky and Martin Scorsese directs it, but unless you have something like that, I don't really enjoy acting.

The 'Pan' script made it to the Black List in 2013.

I think a good script is a rare thing, and I think no matter who you are you have to fight for the good ones.

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.

I depend on good editors and a good director.

I think I've had pretty good experiences for the most part with the people who have directed my screenplays.

When I got the invitation to be part of 'The Ghost' or 'The Ghost Writer,' as it's now known, from Mr. Roman Polanski, my interest level was very piqued. I was very excited and pleased to get such an offer from Mr. Roman Polanski.

To be quite honest, I've been very blessed when I've worked with Hollywood. The studios that have purchased my work to be adapted to film have really liked the work and wanted to stay as close as they could to what the book was.

There is no sense in doing a wonderful script with somebody who can't direct because that is a disaster.

Movies are very hard to make, to get it all to come together. So many people have their say in what the end product of films are.

I've never had to pitch a movie to a studio. I usually just let people read the script, then I cast it. I always think pitching is for baseball.