A Quote by Oscar Isaac
I think it's the director's prerogative, not the studio's, to go back and reinvent a movie.
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It takes courage to reinvent joys, to reinvent opportunities, to reinvent dreams, to reinvent connections, to reinvent hopes that you have set aside.
I don't think you go to a play to forget, or to a movie to be distracted. I think life generally is a distraction and that going to a movie is a way to get back, not go away.
It's a dream for a director, at least to try a studio movie.
I was focused on The Hunger Games movie with my director, with the studio, and with the cast and crew. We all just focused on making the best possible movie we could, and earning the right to do more.
What's interesting as a director, and even studio executives don't understand this, is that if you're directing a $200 million movie with six million people, it's the same as directing a $25,000 movie with three people. The director's job is, "You stand there and do that," or "This is the shot I want." The logistics change, but the job remains the same. And I enjoy the job.
I'm a director because I directed a movie. And if I have any advice for people, it's, 'Go write something; go direct it. If that's what you have a desire to do, go do it. If the movie stinks, just put it on the shelf and try to do it again.'
I'm just saying to everyone. The director does not direct the trailer. It's an edited version that takes so many moments of the movie, sometimes it's not even in the movie. The director does the movie. So don't judge the director based on the trailer. Please.
Daffy, of course, wants to go on the journey with him but the studio decides they want Daffy back, so Bugs and a young studio executive heroine have to go out and try to bring him back.
I liked 'Robocop' because of the director, and it was an intelligent, big-action studio movie.
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.
There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.
I suppose where I am sort of reflects the work I have chosen to do. Are there occasional frustrations because I can't work with a certain director because it's a big studio movie, and I don't have enough of a studio profile? The answer is yes. But generall... generally, I have the career I have chosen myself.
I have to say that whatever decisions I make, I really do think that movie making is a director's medium. They are the people that ultimately shape the film, and a director can take great material and turn it into garbage if they are not capable of making a good movie.
I think I understand the line between my job and the director's. I have no interest in directing. Not my movie, not your movie, nobody's movie.
I think I'm an extremely conscientious producer and now equally as a director and it gives me the opportunity to look at the entire movie and really allow the movie to be the creative vision of the actors, the writer and myself, because I'm in charge of it from a producer and a director point of view.
Realistically, it's the great truism that screenwriters are fungible, that at the end of the day a studio is not going to want to fire a movie star. And they're really not going to want to fire a star director because the director has the hand on the tiller of a ship.
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