Jake Kasdan Quotes

That's why, when Alias came along, I knew I'd be OK if the show was on for five or six years because the writing was so good and the creative team was so strong.

I don't know much about writing a show or being a show-runner on a show, but I can only imagine that when you first cast a show and you first do a pilot, there are so many components that you're throwing into the mix and you're not sure how they're going to develop.

It's good to work with a writer-director.

And then I met Jerry and he's such a creative fiction writer, and I don't know if there's ever been a team put together the way we are - where one person does the theological way out and suggestions, and the other person goes into the cave and does the fiction writing.

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.

Hill Street Blues gave me an opportunity to work with an ensemble cast of people whose work I admired.

And I have the support of the writers: I have a great relationship with the creative team, and they have a good hold of my character and my personality, and they come up with some great stuff, and I'm forever trying to change it up, keep it fresh.

The director in TV and the writer and the creator are working very much hand in hand.

One of the things I really love about TV is this symbiotic relationship you can get between the writers and the actors, and the characters start to come to life because you start to collaborate.

No great television show has ever rested on just one person. They're all about great ensembles and storytelling.

It was actually Peter's idea that I should make the film. He called me in the very beginning, and I hadn't even read the book. So I read it and I liked it very much and I knew I'd certainly like to do it.

My career has gone in such a way that I've gotten to learn that, when you're working with a great storyteller, you don't ask questions; you just trust them.

It's great, getting the scripts and working with somebody like Sam Esmail, who is such a great leader.

The Duffer Brothers are so attentive to story and detail while being wildly respectful of me and what I bring to the process.

The Braintrust developed organically out of the rare working relationship among the five men who led and edited the production of 'Toy Story' - John Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, and Joe Ranft.

I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.

Making a show is such a long process. You go through a TV production house that will commission scripts, and if they like what you've written, they take it to a network and sell it to them. It has always felt very far away from something that's actually real.

That's the really fun thing about writing for series versus just doing a pilot or even doing a feature: you get to live with your actors, and as you learn their voices and they learn your dialog, you're kind of building the characters together.

Mike and I figured out a lot about the world, characters and story in the initial two weeks between creating 'Avatar' and pitching it to Nickelodeon.

A commission and an original are two different things, and both have their virtues and vices. A commission is a bit more collaborative, in that you outline the story that you think should be told, and then you write it. And then, there are notes and you change it, in the conventional studio system.

Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.

Listen to Your Heart' was a blank slate. Yeah, there was this outside idea of 'Bachelor in Paradise' meets 'A Star Is Born,' but what does that mean? You have to actually define that, make it happen.

Jeph Loeb has been great to work with, and he's been really supportive of some really bizarre ideas I've had.

You see, I believe a producer's job today is as important as that of a director.

There's an attitude that I have where I bring the art to the table and the writer brings the writing to the table, but neither of us brings the story to the table. The story is something that only happens with the combination of both of us.