Project Vision Quotes

For me, always, the big inspiration really comes from talking with my creators, my showrunners and my producers, and seeing what is their vision for their project.

The struggle of making a film for any studio is the fact that the producers and the studio have an idea of what the movie should be, but that is especially the case when the director is being replaced three weeks before principal photography. The challenge for me was to make sure that was my version of 'The Wolfman.' And I've done that. I think.

You must speak the vision of your project in a way that convinces people to pay for it. If they won't pay for it, that is the artist's fault. It is my fault. It is your fault. It is not the executive's fault or the world's.

As a director, I love being able to really be a contributing factor to the overall vision of a project.

I want collaboration, but if they don't have a plan or their vision isn't clear, it's nerve-wracking. So, someone that's very sure of the vision is what you want, most of all.

You have to look at the body of work you're doing and then figure out the best way for people to digest it. You want people to come in and listen to all of it and understand the entire project. I think it's bad when everyone's like, "This is how you have to do it."

There is no difficult moment working together because when we start a new project, Dante starts to make all the sketches and I can see the vision of the movie and then I start my job.

I've always noticed a difference between working with a director and working with a writer/director. In how much they're invested and how specific they are.

What keeps me motivated is that I'm going to do a bunch of projects with dancers, and the people who compel me and make me love dance again are the ones I want to hire because they'll do that for others who are watching the thing. So yeah, it is difficult to crush dream sometimes, but they're all professional and they know what the deal is.

We look at each one [project] and consider the context - what it is and what it can be - beyond the strictly functional concerns.

I really loved the story. I originally read for Walt Longmire. He is obviously a very dynamic, strong, manly man that almost any dude would want to play. Once I got in the room and met with everybody, the feedback came back that they loved me, but that I didn't have the age. And then, they brought up the idea of Branch, who wasn't that interesting on the page in the pilot, but once they explained the vision, I really bought into it.

I only want to work with actors that really get it and make it work. I didn't want it to be a star-driven thing anymore.

I never think of a project as just being comedy or just being drama - even with 'Masters of Sex.' I like being sort of messy, like life is.

There were the usual types of things that happen, in a production, like logistical bullshit, and this and that and the other. That's the sort of stuff that happened. But I never felt, in a creative sense, that we were ever veering into a place that I hadn't signed on for.

I didn't want to do eight seasons of How To Build A Fire. The intention was to make something fun and dynamic and about self rescue, not about whittling.