A Quote by Dick Wolf

There are professional negotiators working for the writers and the actors, but basically you've got the writers and actors negotiating against businessmen. That's why you get rhetoric.
When you're doing a pilot, you're doing it in this bubble that almost works against the creative impulse. You don't have time to get to know the actors first, and you have three writers, as opposed to a room full of writers.
It takes awhile for writers to get to know actors rhythms, not just as actors, but what they bring to the characters. I think it takes a few episodes for the writing room to catch up to the actors and vice versa.
A storyteller is basically what actors and writers are.
You hear stories about directors using manipulation to get actors to do certain things, but I think when you're working with professional actors, it's all about trust. They can do anything you want, it's just a matter of them understanding what you're looking for, and the reason why.
I think one of the coolest things about the job is the level of trust we have for each other. The actors fully trust that the writers will write amazing episodes, and the writers trust that the actors will follow their instincts with the characters
I think one of the coolest things about the job is the level of trust we have for each other. The actors fully trust that the writers will write amazing episodes, and the writers trust that the actors will follow their instincts with the characters.
We have a full writers' room, and with something like 'MyMusic,' we've scripted it out with professional writers. There is some very basic improv from the actors, but everything is very to the letter, so it's easy to edit down to an episode. There are fun little things an actor might throw in there.
I love working with the same actors repeatedly. That happens a lot. It's kind of inevitable, especially if you work with the same writers and directors and you start to form a company of actors. You gravitate towards each other.
The biggest difficulty in film industry today is not that of getting dates, actors or finance, but writers. We don't get writers. They are like heart surgeons with whom you need to meet after fixing an appointment.
Writers and painters have a medium that can foster self-effacements. Actors haven't. An actor can't hide himself behind paper or canvas. If you're not there your art's not there. That's why we actors are often such self-centered objects.
A lot of what you're seeing these characters go through is something that either is a story one of the actors told in the writers' room or one of the writers themselves told in the writers' room.
I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.
I love the process of working with a filmmaker and the writers and the actors.
One of the challenges of being a director is often you don't get to work with your peers. You know, writers can write together, and as a director you get to work with so many wonderful actors and writers and designers. But it's pretty rare that you get a chance to partner in that way with another director.
I just can't say enough about the actors having faith and trust in the writers and the writers having faith and trust in the actors.
The number one thing I am earnestly attracted to is intelligence. Writers are thus the pinnacle of intelligence. While actors are great and awesome, writers literally create new worlds from scratch. What is sexier than that? Personally, I don't know why every person out there isn't dating a writer.
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