Withholding things in a story is no good if you aren’t building to something substantial. It becomes foreplay without the main event, and no one wants that.
All I know is that I’ve made some big screw-ups, and I’ve done some things that have done all right. I just keep trying to learn from the mistakes I’ve made.
I don’t try and write strong female characters or strong male characters, I just try and write, hopefully, strong characters and sometimes they happen to be female.
There’s nothing wrong with doing sequels, they’re just easier to sell.
What I’m still grappling with and learning how to do is to be looking and thinking cinematically, having come from television.
To me the interesting main character is never the one without flaws.
There are always a bunch of ideas floating around and I do the best that I can to try to not do them. The ideas don’t go away and, over time, are finally like, “Okay, it’s been around so long, I have to get this thing out,” and it somehow ends up coming to some version of fruition.
I think admitting youre an addict is the first step towards recovery.
Obviously with the Internet and increased access to other means of watching shows, the audience has dispersed and is all over the place and that is a challenge.
I mean, my dad’s a television producer, and I knew I could get a job as an assistant or a reader with one of his friends, but it wasn’t exactly what I wanted to do.
I don’t think anyone wants a movie on time that’s not worth your time.
The Internet now provides an immediate and very clear consensus of what it is that the audience is experiencing. It’s something that you should never let lead you, and yet at the same time, you should never ignore it.
I’m not trying to be coy or manipulative or Machiavellian, I want to spark people’s imaginations.
My work isn’t any more important than anything else in the family.
I guess the idea of not wanting to choose to direct a film, for which I’ve not read a script. It’s a tough decision to make without seeing any pages. That’s not to say that I don’t have all the faith in the world in the spectacular writers.
When there’s an authentic mystery, as opposed to just a question being asked, that’s what makes you lean forward.
When you go to commercial, you want something to call the viewers back, and if you don’t have a decent act out, the audience probably won’t be there in the numbers you want when the show returns.
Robotics are beginning to cross that line from absolutely primitive motion to motion that resembles animal or human behavior.
I don’t want to do something that is so inside that only die-hard fans will appreciate.
I think that even if you’re wondering if two characters are ever going to kiss, drawing out the inevitability is part of the fun. Whatever the genre happens to be.
I think that the success of the film is as much about it being something that families could share as anything else.