Casey Affleck Quotes

The most important thing for Quentin and the most important thing for me is to make the best film possible.

There is no sense in doing a wonderful script with somebody who can't direct because that is a disaster.

Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.

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

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

You can't always expect to work with a director who guarantees success.

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.

The most glorious thing about working in the collaborative art is when you have somebody like Susan Kingsley or Kathy Bates who are better than your play.

I get involved with projects based on three parameters - the script, the actors involved and the director.

You hope and pray that you'll get involved with a director that you understand and who has the same sensibility as you do and knows how to push you and bring out the best in you.

Film is a very collaborative medium. If you're smart enough, you learn how to maintain your vision while drawing resourcefully from all the people around you.

Working with Sam Mendes was a dream come true. He's unbelievable as a director.

Sometimes it's the script or an opportunity to work with an incredible director.

There's so many people involved in making a film.

I am very much open to doing cinematography for any talented filmmaker, if the script is good.

In the film industry you never really know if all the various ingredients will come together - sometimes they do, and sometimes they don't. As an actor, you don't have much control over those things. It's a director's medium in that sense. All you can really do is minimise the risks of being involved in something that might not work and look for something that also suits you.

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.

Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.

Working with a great director is like getting a master class in acting.

I admired Stephen Daldry very much; I think he's a brilliant director, and also, I feel close to him because he has a lot of theater behind him. He's also a man of great imagination and a lovely sense of humor.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

As a director, you try to find what is creative.

Movies are magical. Sometimes it just works, it catalyzes, and everything falls into place, and no one knows exactly how or why.

Rodgers & Hart had a few flops before they clicked. You know, it happens. I don't know anyone who always gets away with everything.

I don't want egos and personalities on the set that make it more difficult to make the film. I don't want people who take the focus away from the movie and the ideas behind the movie.