Zoe Kazan Quotes

A film goes through so many hands, that by the time it's done, it might not resemble what you thought you were making.

You do a film and you have hopes for it, and you read it, and you see it one way in your head, and you shoot it, and it'll always change from what you started out. Sometimes it turns out better, sometimes it turns out; I don't know, but as movies go I've never experienced seeing and likening what I've read, and I liked what I read.

No film ever ends up exactly as you would like it to, but with minor exceptions, THX came out pretty much as I had visualized it, thanks to some excellent assistance -- and a whole lot of luck.

Normally, if you're lucky, the idea of a film you have in your head is more or less what you get back when you see it after the editing and the whole post-production process.

The Weinsteins believe in test screenings. I don't. I don't think good films are made that way. Call me crazy, but I'd like to think you need a singular vision to make good art.

I have no control over a film. I don't know what will be left on the cutting floor.

When you make a movie, you can only make the movie that you would want to see.

When you're actually making the film, you're constantly battling to maintain its integrity.

No one sets out to make a bad movie or disappoint anybody.

You can do 12 great takes, but if the director is no good, he'll end up picking the wrong one.

I have always believed that when a film is being made, it has to be the director's vision.

Both as a filmmaker and as a fan I love the behind-the-scenes stuff, I like it even more than deleted scenes frankly. Especially when you're happy with the movie and you're proud of it, those deleted scenes give you also a sense of the making of the film and the process through which you end up with the final product.

If I have an idea I want to put in a movie, I know what camera will make that look best, and I have ideas for future projects and stuff I'd like to build for those. I think it's just part of how I work, though.

I often can't remember which scenes are and aren't in the final product, because I saw so many different versions of the Lemony Snicket that I forget which ended up on the cutting-room floor.

The filmmaker is really important to me: it could be their first film; it's not just about their reputation, but I have to really believe in them.

In film, you're painting a canvas. I got really excited about that.

I'm trying to work only with established, respected directors. I took a lot of bad scripts and worked for a lot of lazy directors, and it was discouraging to go to the screenings and see that the director had added nothing, the editor had added nothing, there was nothing to see.

Some directors don't get involved in the cinematography and are just about story, but I'm definitely more tactile than that in terms of my involvement in the minutiae.

A great movie evolves when everybody has the same vision in their heads.

Making 'Coraline' was one of the great filmmaking experiences of my life.

I don't watch the dailies. You want to just turn in your resignation when you watch the dailies.

The director is the only person who knows what the film is about.

Every movie has its uniqueness. You just do your best and go with it.

I continually marvel at people who can make films that reach five hundred million people. How do you do that? Everybody's different - I don't know how that works.

Films are not mathematics - that's the first thing you need to understand. At least, that's how I feel. They are not words on paper. Films are made with people, with teams and with individual bundles of creativity coming together to fulfill the vision of an individual who is the director of the film.