Kristen Stewart Quotes

I always say that AMC hires filmmakers, and they let them be filmmakers.

Studios never put pressure. They know the kind of films I want to make.

I like working with writer-directors because you can solve problems right there.

Nobody ever starts out to make a mediocre, commercial film. You always think it's going to be something. And then, once you're done with your shooting, you have no control. You're just done, as an actor.

Other people have worked with big studios and maintained control over their movies. I see no reason why it wouldn't work for me.

I don't make movies because I think audiences will want to go see them.

I became producer so that I could work with persons like him and to rock the world of Hong Kong Cinema a bit.

Movies are the work of a collective conscious. It takes 500-800 people on a movie to complete a vision.

There are only so many movies you can direct. And yet there are movies that I want to make sure make it to the screen in as honest a way as possible.

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

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 like working with directors I respect, who give me freedom but also give me a good base from which to work.

Try to produce your own films, avoid directing for hire.

When you're on a lower-budget film, with one guy who maybe has a camera strapped to him, you're a much bigger part of that pie. You can be a sliver in a big Hollywood movie, but you can be a quarter of that indie movie pie. And I feel like, first of all, there is a real freedom that you feel from that, because it's like, you know what, if this is terrible, nobody's gonna ever see it, so I can be more brave.

On the last couple of movies I made - big-budget Hollywood movies - I really missed being able to create my own material.

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.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I'd like to build something to that effect.

I think one of the main reason's Rick Rosenthal and Whitewater PIctures decided to 'get in bed with me' on 'Fat Kid' was because I came in with a strong business plan as well as a creative vision on how to make the film.

No matter where I am working, I cannot make a film without 100% creative control and final cut. If there is such a guarantee, I can work anywhere.

It's nice when you're working in Hollywood and there's a movie you'd like to see that no one is making anymore. You make it yourself.

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.

When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.

All the director wants is their idea of the movie to be believed in.

I feel 100% sure that I have the career that I have today because of independent filmmaking.