Alex Hirsch Quotes

I would recommend that any writer get off their ass at least once and just try it. Directing is a completely different set of muscles. It also affects your writing because, once you start directing, you tend to write your scripts with directing in mind.

You need the words, you need the script, you need the material, you need the commitment, you need the passion, it's like we depend on writers, we depend on producers, directors depend on us and once things are in the divine order as they happen.

I've directed things that other people have written before, and I've written things and given them to other directors. So I'm very versatile in terms of that, and I enjoy all of it.

I think the most satisfying part about filmmaking is seeing a production in full bloom. When I write, I write in isolation.

A filmmaker has almost the same freedom as a novelist has when he buys himself some paper.

I'll tell you, Quentin Tarantino really writes the most amazing dialogue.

I feel that one of the fields that I need to learn a lot is screenwriting. I used to write my own screenplays, but it's just that I remember that at that time, I was saying to myself, 'I wish one day I will meet a screenwriter that will help me because I feel that I need to learn.'

I think animation can tell more than live action.

Writing is the life blood of everything in Hollywood. Without writers, there are no scripts, no acting work.

TV is a writer's medium, the writer is in charge effectively. So what you write is what gets shot, so in that sense I prefer it. But in terms of the scale of it, features are fantastic.

I am more comfortable in the actor's and writer's role than a director's.

I've been a writer for years, but it was mainly as a function of trying to be a director, so I just got work as a writer. I want to keep directing.

"Prison Break" has been a really great experience because of the writers. I think that in television, you can have great directors, really good actors, but if it's not on the page... I think a series lives and dies in writing.

[Noah Hawley] just a fantastic writer. It's always about the script, it's always about the book; it always is. If it ain't on the page, it ain't on the stage. That's what attracted me to him first and foremost.

For those of us at Marvel Television, it always begins with the story. It's all about the script. It's making sure it's there, on the page. So, we needed to go to a group of individuals who have not only created some of the most memorable animated characters, like Ben 10 and Generator Rex, but also had done two seasons of our very successful Marvel's Ultimate Spider-Man series, and that's the Man of Action guys. But, it wasn't just that.

I see myself much more as a writer/director or at least an aspiring writer/director - not necessarily in film.

What is useful about when there is a sort of pull-out to reveal moment going on is that it actually focuses the mind when you're writing the earlier scenes because you're thinking 'right, how do I? I can only show this amount of the room... I can only show these characters from the waist up because they've all got robot legs!' it's a challenge so it keeps you engaged on some level.

A picture can say 1000 words but it can also inspire you to write 1000 more.

Books are almost always better than the movies made from them, because there are things books do well and things movies do well, but usually those things don't overlap: the same with comics and animation.

I thought of the scene while writing scenes with Rebecca [Hall] and wrote it like an opening montage of showing where someone works. If you see a film about a car mechanic, you'd show the place they work and what they do. So, that's what I set out to do with Rebecca's character. I thought it probably wouldn't even make it into film but I ended up liking it.

I love making movies, I love the differentness of it, I love writing. But I've always liked television. I grew up on television.

Learn from cinema. Be economic with descriptions. Sort out the telling detail from the lifeless one. Write dialogue that people would actually speak.

When I was painting, I was painting stories I was telling myself. When I look back at it, moving to writing was a very natural progression for me.

I think of writers as explorers, not necessarily as detectives. So there is certainly detecting that is going on - they're explorers.

Directing is such a crucial part of the writing process; you start directing and you see what does not work. "Oh, God, what was I thinking?" and then you can rearrange it.