A Quote by Diego Luna
As producers, we choose who to work with and what films to get involved with. There's no rule, but it has to come from an honest place. It has to come from a necessity.
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There is a myth that writers get to choose their stories. You don't get to choose your story any more than you get to choose your children. You can make the decision to write, but beyond that, at the end of the day, it's going to come out how it's going to come out.
I think comedy has to come from a real place. It has to come from an honest place.
I expect people that come to the studio to work to come with the same energy I come with. If I see less than that, I get very strong about, if you want to do this, come with a sense of pride, come with eagerness and anxiety.
That's the key: get the constitution in place. Get rule of law in place, capital will come, electricity will follow.
The time has come to get clear about who you are and what you choose. There must come moments in every person's life when a decision is necessary. A big decision. A major choice. Such a time is now. What you get to choose today is who you are and who you choose to be, and what you wish to experience in your life. Remember, not to decide is to decide.
I didn't come in as a writer that found producers, I came in under producers. So I've always respected the actual production process and producers in general.
Look, I come from vaudeville, I come from burlesque, I come from heartaches, I come from sadness, I come from gladness, I come from work and sweat and respect for the craft.
First of all, I choose the great roles, and if none of these come, I choose the mediocre ones, and if they don't come, I choose the ones that pay the rent.
What I learned about acting, from my experiences directing, is why so many producers and directors don't like actors. You go through all of this work securing a location, figuring out how to get electricity there, how to get trucks parked where they need to be, and where catering is going to come from. And if the actors don't come up with some magic, it actually didn't matter. That creates a lot of animosity towards the actors.
It's a lot to do with the Marvel ecosystem. It's different from the traditional studio system. Because it is, for how absurdly, incredibly successful they are, it is a family. It is a loving family. It is a group of people who only care about making things good. They don't choose directors who don't want to work with them in the way that they work. And the directors that they choose are better for having done it. Every director who comes out of that system are one kind when they come in, another when they come out. And they usually come back for more. They usually make more than one.
Good female parts are hard to come by, so I go all over the place to find them: cable TV, network movies of the week, foreign films, independent American films, studio films, the stage.
The stories that are most unfamiliar, the ones that seem to come out of the blue about people that aren't well known, usually come from producers that have really done a lot of homework and looked around. Other stories come from the correspondents.
If you look at the most meaningful science fiction, it didn't come from watching other films. We seem to be in a place now where filmmakers make films based on other films because that's where the stimuli and influence comes from.
I get very picky. There's sort of a line you have to walk between working and doing something you actually want to be a part of, as opposed to just working for the work. That often puts you in a place where you have to choose whether or not you want to wait for good material to come along.
When you come to religion, you come to a place.
When you come to Jesus Christ, you come to a person.
I'm going to go out and get everybody together and say I think we ought to protect this for generations to come. Now, let's get down to work and walk the land and talk about the conflicts and get everybody involved.
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