Sally Hawkins Quotes

For me the writing, when I'm going to direct it myself, is really just the first draft, and I don't change it very much; I only change it on average about two lines per movie.

There is no sense in doing a wonderful script with somebody who can't direct because that is a disaster.

As a director, you want to work with great writers.

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.

When I do a movie, I have the script. I know how it begins and how it ends. I know what my character does and where he's going. If I have ideas I want to express or changes I want to make, there's one guy: the director. It's different in television.

He was an amazing - John McTiernan really was an incredible director, probably the best I've worked with because he constantly busted me when he wasn't getting what he wanted.

I always think that the deal, once I do the script, sort of the experience I go through writing, which is everything you can imagine, but I always think it's the one thing I can do when I'm directing is say is that it's all about the actors, that I can say, 'We're all here to serve the actors.'

The great directors managed to dissolve and disappear into the work. They make other people look good.

In my first film, we always tried to have a script and work in a normal way, but I was constantly changing things during shooting. Because I worked as a scriptwriter for 10 years, I understood that directors always wanted to change what was originally written, to improve on it.

I've certainly worked with really great directors who haven't acted.

All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.

I always claim that the writer has done 90 percent of the director's work.

Since I began making movies, I've always looked for screenwriters instead of going through the long and painful process of writing.

I think everything you do, whether it's low budget things when you're first starting out or full feature films or when you're working with Hollywood, you're always learning, all the time.

As a screenwriter, you are so used to things going in directions that you wouldn't have taken, so to be able to say, 'This is how I intended it, this is how I want to shoot it, and these are the decisions that I'll live by,' I think directing is a logical conclusion of mine.

Every big-budget film is powered by a director's vision. I blindly follow the instructions of my director, believe in him, and deliver what he exactly wants from me.

I think people think of auteurs as being a dictator shouting over everyone about his vision. That's not the way I think of auteurs or the way I work.

When I got onto set with him we were given a folder of storyboards. I thought that was pretty incredible because I hadn't worked with anybody who used storyboards before so he obviously had a very precise way as to how he visualized the film from the very beginning. It was every scene, but to his credit he was incredibly collaborative and gave us many opportunities to have our own input and to change things with him, so it was a really great way of working.

Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.

Every time you start a movie is to explore with a director and if you can with the actors and with the other collaborators and try to figure out what's the best way to tell the specific story.

More often than not, if you've got a good director and a good script you can't really go wrong.

I don't think that any scene [in Pineapple Express] is word for word how you'd find it in the script. Some of it was much more loose than others. The last scene with me, Danny [McBride] and James [Franko] in the diner - there was never even a script for that scene. Usually we write something, but for that scene we literally wrote nothing.

With everything I've done from "Jackie Brown" on, I got really into really writing more prose in the - in what you're calling the stage directions, all right, and consequently my scripts have gotten bigger and bigger, and cut to "Kill Bill Volume 1 and 2."

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.

I like writing for other people. I love it. It's great because you write it and then you hand it off to someone else. But in terms of directing, anything I direct will be something I've written or re-written. I'm in no crazy rush to direct.