Jason Blum Quotes

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

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

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.

I think books and movies are going to go a long way together in the future. I think we writers are very important material for directors.

I realized the exciting place was behind the camera with the producer, director and so on.

Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I've been sending him information and items that have been useful to the writing process.

Nelson McCormack on 'Killing Kennedy' was really terrific because I wrote the script, and he had some terrific ideas. We went over the script together, and I was with him on set. So it was a collaborative effort.

I know how to write a movie. I know how to direct a movie.

You come up with a story line, you hire the writer, the director, the stars, the set designer.

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.

I've directed things that other people have written before, and I've written things and given them to other directors. So I'm very versatile in terms of that, and I enjoy all of it.

I love TV, don't get me wrong. But with film, you're just banging out this one product, and you're not waiting on another script. You have your script. It's great in that way. It's as close to theater as you can get.

It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.

When you work on a movie, especially an independent movie, it's a lot of work to make it! It's not just our job as actors - so many people are working so hard, and even the littlest movie takes a lot of work.

Really top-notch directors, I've often worked with them just to see how they work.

Very often, things that people may think come from the writer, very often don't. There's a lot of cooks in the kitchen when it comes to making a movie. When you hear a line of dialogue that sounds kind of tinny, it's pretty easy to cite the screenwriter. But there's a lot of stuff that goes into making a movie.

My dad is a successful television producer, director and writer and my mom's a director and writer.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.

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

Over the years, many producers have come and gone, and screenplays were written and abandoned. It's the Hollywood process. It's hard to get things done.

I was in New York. Hitchcock was in California. He rang me to make a report on his progress and said, I'm having trouble. I've just sacked my second screenwriter.

Oh, yes, we were on location with Another Man's Poison, which I wrote for Bette Davis.

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.

To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.