A Quote by Stellan Skarsgard

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. — © Stellan Skarsgard
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.
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.
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.
If I love the script and have a good rapport with the director, then first-time director can also be very special.
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 had one well known director who kept saying, "Now Clint, this is what ...." And I'd say, "I know. I read the script. I'm the one who cast you as the director. Let me show you and you'll correct me if I'm wrong."
More often than not, if you've got a good director and a good script you can't really go wrong.
I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.
I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.'
You don't often get a proposal to do Tolstoy for a really interesting director - that's easy to say yes to.
I would take a bad script and a good director any day against a good script and a bad director.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
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.
If I'm a director and I read a script and I say yeah I really want to do this, I would never walk away because the deal wasn't very good - that I wasn't getting paid very much or that the chances that I would see anything on the back end were remote because of the financial waterfall and the way it's structured. I would never use that as a reason not to do something.
Certain things are very important for me while saying 'yes' to a script. One is obviously the role and its importance to the film. When I say this, I don't mean the length. And last but not the least - the director.
When you do a rewrite, it's really about serving the director's vision, and what the director needs to go into that script.
I've always laughed at the term "female director" or even "black director." A director's a director.
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