Zack Snyder Quotes

I think my thing is that I try and pick up on things that other people have maybe not picked up on.

I enjoy telling these stories that I ultimately think get a disservice on a lot of network television. I enjoy getting people to change their perspective. I enjoy pushing myself into learning and understanding things from a very different point of view. It's scary to do that. It's scary to kind of put yourself in somebody else's position.

A lot of times people get to a certain age and they quit. I always felt sorry for the Frank Capras, the Billy Wilders, directors like that, because they quit in their sixties. Why would you quit? Think of the great work they could've done in their sixties, seventies, and on up.

I think people place limitations on each other and on ourselves. There is a great fear of expressing ourselves, of making creativity happen.

People like my films. They understand me through my films; it's like a connection that has been established between all my work and myself and the audience and the viewer.

Unlike any other creature on this planet, humans can learn and understand, without having experienced. They can think themselves into other people's places. We do not need magic to change the world, we carry all the power we need inside ourselves already: we have the power to imagine better.

You have to think not about what you mean but about what people hear.

I think it's very important to keep being frightened - if you're not frightening yourself, you should take a break. You need to keep experimenting. You also need to take time - that's how you do good stuff - layering and depth of knowledge.

Well, I think critics are very useful. But I think that they, in a way, betray their position when they stop people looking for themselves. Judgment is very easy, but I think, on the whole, professional critics maybe see too much, and compare too much, and forget the joy of actually looking and contemplating for its own sake.

I think people are a little bit intimidated by me. You know, I'm not exactly a wilting flower, so I think they're a little bit scared of me sometimes.

People will say, 'There are a million ways to shoot a scene,' but I don't think so. I think there are two, maybe. And the other one is wrong.

The camera is for us a tool, not a pretty mechanical toy ... people think far too much about techniques and not enough about seeing.

I think of there being two conditions that creative people go through. I think it's fear and curiosity.

That's the trouble with, I think, my - the contemporary read of my work. So many people just simply say, "These are pretty pictures of black boys." They're not really thinking about, like, what the whole thing is.

I regret that I must so continually use the word genius, as if that should apply only to a caste as well defined from those below as income-tax payers are from the untaxed. The word genius was very probably invented by a man who had small claims on it himself; greater men would have understood better what to be a genius really was, and probably they would have come to see that the word could be applied to most people. Goethe said that perhaps only a genius is able to understand a genius.

I think a diversity of expression can only be good, so I think the more that people write about their experience, use their imagination to deal with their experience, you know, I think that's going to be good for not only for those authors but also for people who are interested in trying to understand it.

Writing is a concentrated form of thinking...a young writer sees that with words he can place himself more clearly into the world. Words on a page, that's all it takes to help him separate himself from the forces around him, streets and people and pressures and feelings. He learns to think about these things, to ride his own sentences into new perceptions.

You can’t take everything on. That’s why when people ask how does this film fit into my oeuvre. I say 'I don’t know. I don’t think in those terms’. If I did, I might become incapacitated by fear . . . How do you eat a whale? One bite at a time. How do you shoot a 150-day movie? You shoot it one day at a time.

But I don't really write to honor the past. I write to investigate, to try to figure out what happened and why it happened, knowing I'll never really know. I think all the writers that I admire have this same desire, the desire to bring order out of chaos.

I think people like to exaggerate about the number of takes you do.

I believe that reality is vastly richer than the cursory attention we usually give it permits us to understand. I like to write through a consciousness that allows me to suggest something of this richness.

The more we see the more we must be able to imagine, and the more we imagine, the more we must think we see.

I understand that people are afraid. Because I think censorship is about fear. It's just fear being projected onto art.

One of the many things I love about working with Ryan Murphy is that you're always thin-sliced in this business. You walk into a room and people want you to be how you look or how you're perceived or whatever it is in that 10 minutes that hey meet you. I think Ryan [Murphy] has an intuition that looks a little bit deeper and sees things that other people might not see in you - sometimes you might not even see in yourself - but that he knows are there and that he might want to get to grow and stretch with as an actor.

What's lightly hid is deepest understood.