A Quote by Brady Corbet
It's only the filmmaker. The script is really, really second. And there's a huge gap between filmmaker and script for me. I almost don't care about the story that they're telling; I really only care about who wants to tell it.
Related Quotes
Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.
For me, the first thing is script. When I heard 'Mom''s script, it really touched me and moved me. I felt really nice about the story. That's the reason I did the movie.
I don't really care much about what the top one per cent earn. The gap we ought to care about in wealth is between the middle and the bottom.
It's always the script that's going to lure me. And I don't really care about the part.
I'm a filmmaker who is known for these ambiguous portraits that tell multiple sides of the story without really telling the audience what to think.
If you read the script, and the character's got something in it that you relate to, then I am keen. But I really think, a lot of the time, my successful auditions are those where I really care about the characters.
Real power is having the ability and the resources to tell an amazing story or to say 'yes' to a filmmaker and change not only the filmmaker's life but the world.
I'm sent a script. I read the script. If I love it, I want to do it. And that's it I don't care who's in it, how much money is behind it, really to an extent who's directing it.
'Looper' was a wonderful script. Rian Johnson is the real deal and a really talented filmmaker.
If theres something really, really bothering me about a script, then Ill say something, but otherwise I find my answers in the script.
I can always tell when a filmmaker doesn't care about his or her characters; they just care about setting them up to kill them off.
If there's something really, really bothering me about a script, then I'll say something, but otherwise I find my answers in the script.
I had this thing where I only wanted to work on original material, no adaptations, and obviously, that changed. I really wanted to have the resources and have the space and the time to tell stories that I've really cared about. I've kind of changed my approach, but I've gotten to do that, to tell stories that I really care about.
You almost have to step outside yourself and look at you as if you were someone else you really care about and really want to protect. Would you let someone take advantage of that person? Would you let someone use that person you really care about? Or would you speak up for them? If it was someone else you care about, you'd say something. I know you would. Okay, now put yourself back in that body. That person is you. Stand up and tell 'em, "Enough!
I was approached by the filmmakers. I didn't know much about the project ["Selling Isobel"], and the more we talked, the more they started to confide in me. I read the script and thought it was really interesting, and then a week later I discovered that this wasn't just any old script, this was actually Frida's [Farell] story and she was trusting me to tell it. I felt very privileged.
The only thing I ever really care about is animals - animal causes. I don't really care about people that much, but animals I feel like they always need to be protected.
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