A Quote by Elvis Mitchell

Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
I have a problem with writer/directors, personal. I can't work well with both of them on the set, if both of them are giving instructions. Writers tend to be in love with what they wrote. You can't always translate the words into the meaning, sometimes the meaning is better served without the words, difficult to make a writer to try to understand that. It gets, sometimes, tense.
In this business, you're dependent on the writer, the filmmaker, the luck of beating out who knows how many people for the part. I'm over getting torn up about that.
Justin Theroux is the ideal team partner to have. He's a writer. He's a director.
The whole thing with comedy is that you are always in control. Writer, director, actor, producer, and sometimes bouncer. And you are just a piece of their puzzle.
There's always the same amount of good luck and bad luck in the world. If one person doesn't get the bad luck, somebody else will have to get it in their place. There's always the same amount of good and evil, too. We can't eradicate evil, we can only evict it, force it to move across town. And when evil moves, some good always goes with it. But we can never alter the ratio of good to evil. All we can do is keep things stirred up so neither good nor evil solidifies. That's when things get scary. Life is like a stew, you have to stir it frequently, or all the scum rises to the top.
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 am not a director or a writer, but a filmmaker.
It's hard to tell our bad luck from our good luck sometimes. And most of us have wept copious tears over someone or something when if we'd understood the situation better we might have celebrated our good fortune instead.
Justin Lin has just been exceptional with what he does with that vehicular action.
I don't believe in trouble. Because I think that trouble is sometimes good, sometimes bad. I've been known to be called trouble, which I think is quite a compliment. But I suppose, thinking about it, that my best and worst trouble has always had something to do with a man.
It's funny: I always, as a high school teacher and particularly as a high school yearbook teacher, because yearbook staffs are 90 percent female, I got to sit in and overhear teenage girl talk for many years. I like teenage girls; I like their drama, their foibles. And I think, 'I'll be good with a teenage daughter!'
Don't cry Don't raise your eye Its only teenage wasteland.
Whatever storytelling muscles you've developed as a documentary filmmaker will be extremely helpful as a narrative filmmaker.
Musical chairs or Russian roulette? Sometimes there's as much tense drama in the casting of a Hollywood movie as there is in the finished product.
When you are doing stand-up comedy, you are the writer, producer, director, sometimes bouncer.
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