Project Evolution Quotes

One interview would lead us to another interview, which led us to another interview. We had the questions and the idea of chonicling this moment in time. But we didn't have a movie, per se. As we started interviewing people, it started to kind of define itself.

One of the advantages of having to live with JUnit for 8 years is now we can look back and see which decisions we made worked nicely and which we would have done differently.

At the start of the process the idea is just a thought - very fragile and exclusive. When the first physical manifestation is created everything changes. It is no longer exclusive, now it involves a lot of people.

I can't usually stomach a project after I finish it, but for those days and weeks and months that it's new to me, I do listen to it, and it might change over time, but it's about function.

With 'Words, Words, Words,' that show was me experimenting with something, and then there was a clear direction for me.

Most actors have a process that they can go through, that they rely on, or that they've discovered, and that can evolve from project to project.

By the time I came to do the final ones [Harry Potter's film], I was working on something that was massively successful. There was a huge difference in indulgence and all sorts of stuff. A very big difference in peoples' attitudes. They were very pleased with themselves. In human terms, it was quite interesting to see the difference.

Outside' was more of a personal project. This, the 'African Giant', is more of an African project.

The Internet is part of this ongoing, species-long project we've been working on since we climbed down out of the trees in the savanna. We've been working on it without really knowing it.

We started filming [with Brandy Burre ]and didn't really know, at first, what we were doing. Eventually, the thing just grabbed a hold of both of us and became what it is. But, yeah, we were very close before and we're even closer now.

The dream, I think, with any project is it starts with an idea, and then somebody writes it, and the writer hopes that a director comes on and makes this piece of material visual, and both the director and writer hope that they can have actors come in and bring something to it that neither one of them expected, elevating it along the way.

I've toyed with this idea [of Fresh Hell] for a long time. I actually wrote a feature years ago with this sort of concept in mind, and it's gone through several incarnations, and... It wasn't 'til I met Chris Ellis, who directed me in a little thing that was actually for a ride in Universal Singapore, for those of you who happen to be going to Universal Singapore.

Every one of our films, when we start off, they suck... our job is to take it from something that sucks to something that doesn't suck. That's the hard part.

You have to have this straddling balance of realizing that games are incredibly complex. You can have an idea of where you want to go with something, the structure of something, but the actual moment to moment figuring all this out-it unravels over the course of, in 'God of War''s case, about five years.

So that would be my input and I'd go off and I'd work on another film, and then I'd catch up with them later on in the year. We just kind of nursed the piece along. There was no timeframe. We didn't have anyone pushing us except ourselves to make the film, and a desire. And then the organic kind of naming of Roger; then it happened really fast.

I try to find more interesting material with each project I do.

As I've gotten older, projects are more interesting and dynamic. My thinking and acting has evolved over the years.

When I started this project, I was a young architect. I was very apprehensive about any changes to the design. Whether I wanted to or not, I learned that you can accept some changes to its form without compromising its intent. But it's a leap of faith that I didn't want to make initially - to put it mildly.