Randy Pitchford Quotes

I'm not an expert in instruments, beat programming, or electronics. For some people it's all about doing it themselves. But for me, it's all about find the people that can help make my vision come true.

The great thing about movies is that they're collaborative. And the worst thing is that they're collaborative.

I think there's a tendency with actor/directors to imagine themselves playing every part and trying to get people to follow their rhythm, their tempo, their pace. I've learned now to just love being at the center of this creative swirl.

I truly believe that cinema is a collaborative effort, and as long as I get to tell, and be part of, interesting stories and work with genuine people, I don't see any project as a 'risk.'

I always used to say, at the end of the day, I want Brockhampton to be like Paramount or something, and you don't really know who's behind it. You just think about Brockhampton and all the types of content we provide.

When I started creating my work for publication, I just assumed that the focus would be on the work itself and that there wouldn't be a lot of interest in who was creating the work.

Young directors are a delight to work with. With no preconceived notions, they provide enough creative fodder for actors.

Whenever I've done jobs, whether it's an acting job or writing job, there's an aspect of it that feels like you help build your piece of it, and then you watch as someone takes it, and they finish building it.

If the fans are liking what I've been doing, and they want to create a song for me, let's get on with it!

John Doyle just knows how to feed actors, and what comes out of us, good, bad, right, wrong, doesn't matter. There's no fear or censure. He opens up the creative goo and all of the actor vessel stuff. He knows how to do it. It's just incredible.

I wanted to be open. On the last project, "Affection," I co-wrote everything. Sometimes, I think, it's smart to step away and be open.

For me, a director is such an important part of thE process. I really have to trust him. Because then you can kind of let your inhibitions down. You can go anywhere when you trust someone.

I’m an actor who’s accustomed to bringing a lot of stuff to the table, and you have to be ready because some of them will be accepted and some of them will be rejected. Then you need a generous, free, fearless, loving director like Tarantino to allow you to take those risks.

Having done Spaced, I can't even remember it being that difficult on Spaced, but we know what the end's going to be like. We know why we're putting in this amount of work, or why a shot might be particularly tricky, because we know that what we do is create a whole package. It's the writing, the performances, and the style of camerawork, that's what we're working toward, and we're prepared for that.

The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it.

Larger game teams are often a bit more experienced at working with writers, which is often a huge relief. However, it also means that there are more people wanting to wander around the narrative kitchen telling you how you should be making your story pies.

[John] Hughes was open to that [rehearsal]. This can only happen if the director and/or the writer are open to that.

I certainly like the actor to have as much lee-way as possible. In the same way that director Bong was generous enough to let me create, you have to do that for actors, as well, and let them use the tools they have, and part of that is their own brains and their own words.

There are two kinds of filmmaking: Hitchcock's (the film is complete in the director's mind) and Coppola's (which thrives on process). For Hitchcock, any variation from the complete internal idea is seen as a defect. The perfection already exists. Coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.

In the beginning we were creating our music, ourselves, every night . . . starting with a few outlines, maybe a few words for a song. Sometimes we worked out in Venice, looking at the surf. We were together a lot and it was good times for all of us. Acid, sun, friends, the ocean, and poetry and music.

I was working with real artists [in the Rum Diary], and that's difficult to do and very rare, in this industry, ironically.

Every film I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.

I'm all about working with directors that are doing different techniques and I think everyone has their way of getting it to the place that they think is best.

It sounds kind of flighty, filmmaker-y, but I believe films are a piece of art. They are meant to be what they're meant to be, and sometimes the artist is informed by the film of what it needs to be.

Being a creative person. It's so much more rewarding when you find things on your own, to live whatever the writers are writing or to display what the director is looking for. You are the thing that everybody uses to get the story out.