A Quote by Xavier Gens

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.
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.
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.
I think that I'm a pretty great producer, but the vision behind Batman is Chris Nolan. I'm there to do my best to help execute that vision, and I think I do a really good job, but the vision is Chris Nolan.
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.
My teachers believe that the creative producer's job is to service the vision of the director, to stay within schedule and budget, and to get the studio what they need, but you work for the director to get their vision on the screen. That's not how everyone approaches producing, but it is certainly how directors like you to approach producing. How I was brought up is that my job is to help you make the movie you want to make.
When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.
I'm intrigued by films that have a singular vision behind them. A lot of studio movies have ten writers by the time they're done. You have a movie testing 200 times, making adjustments according to various people's opinions. It's difficult to have an undistilled vision.
When I'm in the studio, I write the music, I play the different instruments, I produce it, I arrange it, and it's a self-indulgent exercise. It's the way I make my music. And when I'm acting, I get to leave myself behind, which is a relief. I get to collaborate with a director; I respect the director's medium and all the actors and actresses. So at the end of the day, it's about a character and it's about a director's vision. It's a really good balance for being so intense and alone in my personal process of making music.
When I do a film, usually I work from my director. That's my boss. The director is interpreting the writer's vision, and we all interpret it, and they create their own vision as well.
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.
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.
I think the most important issue we have as a people is what we started, and that is to begin to trust our own thinking again and belive in ourselves enough to think that we can articulate our own vision of the future and then work to make sure that that vision becomes a reality.
The pace of change is so great, there is always something else going on. What that says to me is that you have to have strategic vision and peripheral vision. Strategic vision is the ability to look ahead and peripheral vision is the ability to look around, and both are important.
The Joker that Christopher Nolan created in 'The Dark Knight' had the scar across his mouth, and the first time you heard his explanation for it, he makes you believe that's how he got it. But then you get into the film, and every time he talks about his scar, it's a totally different story.
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.
Every director works differently but one thing's important: they must have a vision. If they don't have a vision I don't care how they work.
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