Edward Norton Quotes

When it comes to filmmaking, we have to deal with ego, anger, and a lot more; barring all these, how the team works towards the outcome matters.

As a writer, you're really in control of almost everything. That's not the case in TV. You have to be prepared to work with a lot of people to make something happen, and you got to be prepared, at least in the beginning, to not be too good at your specific task.

If the auto plants in Detroit would just sit around the table and say, 'What do we gotta do to make this thing work?' Instead of, 'I want this and I want that.' They might make it.

The only thing we don't do together is get in front of an actor and show any indecision at all about what we think. We don't always agree, so we meet privately, then one or the other will approach the actor.

I realized why directors are such horrible people - in a way - because you want things to be right, and people will just not listen to you, and there is no time to be nice to people, no time to be delicate.

I know that sometimes the chemistry just isn't there between the model, photographer, hair and make-up. It's nobody's fault and you just have to do better next time.

The relationship between talent and management is uneasy, at best.

My job is to come up with something that you like and you agree with that you would play wholeheartedly. If we disagree, I may not be doing my job correctly.

Songwriting is a give-and-take process, and it can lead to some good, healthy debates.

Between you and me, I think that may be one of the things that will help with the collaboration, because there are things Eric thinks I'm moving too quickly on, and there are things I think he's dragging out. When it gets to the editor they can arbitrate.

I can do whatever I want. They will tell me if what I am doing is stupid or a total waste of time. I may tell them that they are wrong, and we will come to an agreement.

Pretty much, I am always open to input from everyone; although I don't require it, the feedback is conducive to getting the play together.

If you think that something worked and your directing partner doesn't think so, then maybe you have to re-think what you were doing.

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.

I believe the better I can write on my own, the better I can be of service in a co-write. The big thing with a co-write is trust, and it's not so much what you get the first time you sit down with that writer. It's the relationship that you build that you're in. So you can trust throwing out all your ideas and how strong you think they might be.

A huge amount of negotiations and diplomacy has nothing to do with bartering or arguing but is just trying to get everyone [doing the negotiating] on the same page. It takes yours, days, even weeks sometimes.

When a relationship with a director is really working, you have the same idea at the same time. You go, 'Look, this isn't working,' and they'll go, 'I know it's not working. What are we gonna do?' And you go and try something else.

If I wanted to have total control and be a dictator, I would do ice sculpture in my basement. If I want to make a movie, I'm going to work with 500 people, and I will have to work with their strength and their weakness.

I like hearing from everybody and not just my co-screenwriters or producers. For example, while on set, I find it valuable to turn to my PA and ask, 'What do you think? Is this scene working? Do you like what you see? You got any ideas for that line there because that idea isn't working for me.'

I'll always work with my collaborator in the room so I have a reaction on a note-by-note basis. I know in my gut when something works for me, and I'll fight for it, but I'm a very easy re-writer.

You know when you put two great players together, you're going to have to work through some things.

Sometimes, a player and a coach can have a different opinion. In the end, the best interest of the end, the best interest of the club has to be kept in mind.

Any time you get to work with creative people - animators, actors, directors and producers, all of this - it helps to refine what tools you'll need moving forward.

When you're dealing with a bunch of different producers, you gotta make sure the chemistry fits.

In a way, sometimes collaborating is more difficult because you have to listen.