A Quote by Robert Wise

Of all the stars whom I worked with, I think Steve knew better what worked for him on the screen than any other. He had such a sense of what he could register, and that helped a lot in terms of shaping the character and the script.
You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, we had a lot of our skin stuff worked out and that helped a lot. We have a lot of exchange happening.
But these last months had turned him around and now Gen saw there could be as much virtue in letting go of what you knew as there had ever been in gathering new information. He worked as hard at forgetting as he had ever worked to learn.
I think any workplace relationship is dangerous. That's been my personal experience. They haven't always worked out the best. But I know other people for whom it worked out great.
Jose Mourinho is one of the best managers with whom I have worked. I had a chance not only to have him as a coach but as a colleague, a friend, a big brother. I had a chance to learn from him, and he was open to receiving advice from me as well, even though I think he knew it all.
I worked closely with Steve Jobs for twenty-six years. To this day, for all that has been written about him, I don't believe that any of it comes close to capturing the man I knew.
I really like the "two is better than three" line. People ask me is this drama or comedy? I just think the more colors you have to a film the better. The more genres, the more people will like it. I like relating to the whole general speaking public. The script itself is 99 pages but the novel it is based on is 600. I had to leave a lot of stuff out of the script. I had a limitation of what I could present on the big screen.
I've worked with non-professional actors, I've worked with movie stars, I've worked with kids, I've worked with older people, and I've found my job as a director is to cast them well and to understand what they need on set to bring the material to life.
'Sleepless' was a script that had been written by three or four other writers before me, and it never really worked, but it had this amazing ending on the top of the Empire State Building that just worked, no matter what came before it.
I worked on the line, I've been an executive chef, I've worked for the Mets, I've worked for various steakhouses, vegetarian restaurants, a lot of Middle Eastern stuff. I've worked my fair share of a lot of different things. I've worked at festivals and street fairs, you know? I've been through it all.
The director of the [Grimm] pilot called me in. I had worked on a pilot called Love Bites with him, and the producers I worked on with on Hot In Cleveland, so they knew me from comedic worlds, and they wanted someone who could be light too. Because it is pretty heavy.
The best way I knew how was to give 110% and want it more than them, and walk on the court and every moment of the match feel like it was the end of the world, in a sense. So that worked for me in a lot of ways. There were times that it hurt me, but for the most part, it helped me.
If you look at the publishers I've worked with, generally, they're a great bunch. Creation is unlike any other publishing house you can think of. The people I've worked with have integrity and intelligence and, almost always, less money than ideas.
[Russel Crowe] has been through a lot and had a lot of success. No one knew who he was when I worked with him 12 years ago. He's just come off a great film in Australia- Romper Stomper - and so it was good to see him again. Obviously, I'd seen him since.
I have not worked with farmers. I have not worked with prisoners. I have only worked with human beings. I didn't see anybody as anything other than that.
I was fortunate to be able to do two movies with Harold Ramis. He was the kindest of any director with whom I worked. Harold was a genius. On top of his talent, he could do the 'New York Times' crossword puzzle faster than anyone! I am lucky to have known him as well as I did. I will miss him.
People talk about Frank Sinatra all the time - and they should talk about Frank - but he had the greatest arrangers. They worked for him in a different kind of way than they worked for other people. They gave him arrangements that are just sublime on every level. And he, of course, could match that because he had this ability to get inside of the song in a sort of a conversational way. Frank sang to you, not at you, like so many pop singers today. Even singers of standards.
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