ROBERT SCHWENTKE

I don't do deleted scenes.

I have a family. I'm married. I'm very, very happy.

The day you step on the floor the meter is ticking and time is of the essence. You can't really afford to not know what you're doing. So I think the screenplay is a great tool to get everybody on the same page.

There are very few films that work like a novel.

I went through a pretty serious illness early in my life and I made a movie about that.

I read a script or I read a project or I read a novel and I know that I'm going to spend two to three years of my life with that, exclusively. So you better like it. There better be an honorable, real need to make that movie.

I think you either have chemistry or you don't. If you could create chemistry in the editing room then there would be no films without chemistry, obviously, because there are a lot of good editors out there who'd be able to take care of that then if that's how it really worked.

I'm very eclectic in terms of what I like, what I read, what I watch, my own consumer behavior.

I'm not looking for artistic license with the script. I tend to arrive at a form with the script and feel that that should be for the time being what we aim for.

It's not like you get up in the morning on the first day of shooting and say, 'I'm so smart today I'm going to determine every choice I make from now until a year and a half from now.' So it changes. You gain insights. The movie bucks you.

There are very few films that work like a novel.

I don't do deleted scenes.

I have a family. I'm married. I'm very, very happy.

The screenplay is a great document because it makes you have many discussions prior to actually being on the floor.

I went through a pretty serious illness early in my life and I made a movie about that.

I think you either have chemistry or you don't. If you could create chemistry in the editing room then there would be no films without chemistry, obviously, because there are a lot of good editors out there who'd be able to take care of that then if that's how it really worked.

I have a family. I'm married. I'm very, very happy. I wanted to make a movie for my wife and a movie that speaks to what it is to be in a long term, very, very committed relationship because at the heart that's really what it is.

The movie doesn't do what you want it do. It just grows and then you have a movie at the end of it, hopefully.

I'm very eclectic in terms of what I like, what I read, what I watch, my own consumer behavior.

The choice that you really have is that you can go and work for TV which is so badly paid that you have to really churn them out which I think probably helps you develop certain muscles. I'm not sure though that you really want to have those muscles as a director.

I think it's never mono-causal why you fall in love with something that you want to do.

I'm not looking for artistic license with the script. I tend to arrive at a form with the script and feel that that should be for the time being what we aim for.

The day you step on the floor the meter is ticking and time is of the essence. You can't really afford to not know what you're doing. So I think the screenplay is a great tool to get everybody on the same page.

I read a script or I read a project or I read a novel and I know that I'm going to spend two to three years of my life with that, exclusively. So you better like it. There better be an honorable, real need to make that movie.

It's not like you get up in the morning on the first day of shooting and say, 'I'm so smart today I'm going to determine every choice I make from now until a year and a half from now.' So it changes. You gain insights. The movie bucks you.