A Quote by Kelly Marcel
When you do a rewrite, it's really about serving the director's vision, and what the director needs to go into that script.
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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.
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.
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.
An actor is nothing without the vision of the director. The director needs to have a vision that will cross boundaries, that makes the audience sit on the edge of their seats and that pushes the envelope.
Your actors need to trust you as a director, but normally, I think you just need to have an open communication between the actors and the director. I think the director needs to really paint his or her vision to the cast and let them know the kind of mood that he or she is making. I think that's very important.
When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.
I came from advertising. For me it's about protecting the director's vision. That's always the goal. There's keeping things on budget and on time and dealing with selling the movie so that to me is a focus. But also it's about serving the script. We are genre filmmakers, those are the films we love to make, so my perspective is a little different.
Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film.
You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
I have my pride. I'm a director. I'm not going to go and recreate some other director's vision.
Very often, it's the director that I'm attracted to. If it's a really good director, I don't even have to read the script to say yes.
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.
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.
I thought ['Sailcloth'] was a terrific script. Elfar Adalsteins, the director, is bound to be a director we'll hear from, and the whole thing was really enjoyable.
Of course you want to be good and you want to do the best you can, but I am inspired by great writing. If there's something about the script, that's what I go for, although I know that that doesn't always translate because sometimes it's about the vision of the director.
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