A Quote by Frank Grillo
I look at the script first and who's directing it and then talk to the director to find out what his vision of the movie is and if it matches my vision and then we go after it.
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You have to accept that the moment you hand a script to a director, even if you've written it as an original script, it becomes his or her movie. That's the way it has to be because the pressures on a director are so staggering and overwhelming that if he or she doesn't have that sort of level of decision making ability, that sort of free reign, the movie simply won't get done. It won't have a vision behind it. It may not be your vision as a screenwriter, but at least it will have a vision.
In films, you have to follow the director's vision. Filmmaking is a director's medium. So everything happens as per the script and his vision.
If you have a vision or if you believe the director has a vision, then at least you've got something to talk about, something to try and head to and I think that's mandatory for every director to have to do a good job.
My starting point is always to read a script and have a conversation with the director about what their vision is, and then, after that, I love to do research.
It's depend of the communication, I think it's very important to let the director make his own vision of the character, not making a studio movie. Look the Dark Knight it's totally the vision of Nolan.
I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
I think what makes a good actor's director is somebody who understands what I'm doing and is respectful of it, but who also has a vision and is directing me toward their vision in a way that feels productive.
If churches would take ownership of a vision, the next pastor who is thinking about coming to that church can see what their vision is and then determine if their vision fits with his or her ministry. If it doesn't, then it would be wrong for that pastor to come to that church.
When you do a rewrite, it's really about serving the director's vision, and what the director needs to go into that script.
What can I do if the director and producers comes to me with a certain demand for a vision for a song? I will try my best to give them a song that matches their vision.
If you talk to people in the military, they'll tell you it takes 3-to-5 years to completely change a culture. It's about making sure, first of all, that everybody understands what the intent and what the vision is. Then you have to map out how you're gonna get there. And as you start to do that, you've got to find out who's in and who's not in.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
If a director, I believe, has vision and knows so clearly what they want, then you can have a film that can perform. Whereas you can have done 50 movies, but if you're unsure this time, your movie may not turn out.
The first thing you do as a producer is you try to understand the director's vision in as deeply a way as you can. Sometimes, you end up with a director that has more vision or sometime they have less vision. You hope that they have more. In the case where they have more, you need to understand it in the deepest way you can.
It's rare that I'm working on a movie and that's the case. My goal is the same, ultimately at a certain point you give it to the director and their vision. You're there to support that vision.
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