Roland Emmerich Quotes

Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.

When I'm writing a movie, it's usually pretty close to what the movie is going to be, which is just a luxury of being a writer-director.

It was actually Peter's idea that I should make the film. He called me in the very beginning, and I hadn't even read the book. So I read it and I liked it very much and I knew I'd certainly like to do it.

It's good to work with a writer-director.

The Braintrust developed organically out of the rare working relationship among the five men who led and edited the production of 'Toy Story' - John Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, and Joe Ranft.

When I want to tackle a story or a subject, I always ask myself three questions: Is it important to talk about that? Will it interest other people than just me? Can I live with that for three or four years because that's how long it takes to do the project, to write the script, and to direct it, and then to do this.

When I say that it's taken us [with Luca Guadagnino ] 11 years to make this film, what I mean is that it was 11 years ago that we started to talk about a kind of cinema that we wanted to make together.

Every film starts with the script.

What I did was I completed the half-hour film, but before really showing it, I wrote two more sections for a potential feature film which I didn't think would really happen, but at least I had it in case.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

Although Bill Finger literally typed the scripts in the early days, he wrote the scripts from ideas that we mutually collaborated on. Many of the unique concepts and story twists also came from my own fertile imagination.

As a filmmaker, I'm very collaborative. I don't pretend to know everything that is needed to make a movie. What I like to do is get together with a group of people, starting with developing the story and bounce around ideas.

I have stories that I'd like to maybe one day consider directing, but you need a lot of time to write and put it together.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

Getting your screenplay right is the most important thing you'll ever do on your film.

We've been working with the very best in the business. The studio really just let us alone to make the films.

It's not just about acting. I love film, I'm a director now, I love writing, I love producing, I love having a company that makes films and to be prolific and have a place to put all the ideas that are constantly bubbling up inside of me and that don't let me sleep at night.

What you do is get the right director and the right screenwriter and the right cast. It's a fantastic job.

A film takes a lot of time, and yet not enough to share with the people you're making the movie with, I think.

I allowed the scriptwriter to come to my parties for research and it's a good thing he did otherwise I don't think Personal Services would've been so good.

Steven and I have worked together a lot and I'm far ahead of the curve than most people in knowing what he wants, but he knows far more than I know about what's important for the story. So, most of the changes he will make will involve story changes.

I wrote Murder at the Windmill. And it was accepted and we made it and it was the first film I made with Danny Angel, well the only film I actually made... I made a lot of it at the Windmill itself.

In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.

I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.