Tony Scott Quotes

Everything is always against you when making a movie, and if you don't have a solid blueprint that the entire team can get behind and understand and then execute, then you're going to be lost on the set.

When when my first feature opportunity came along, I wasn't prepared, but we did it in about 17 days.

Directing takes a lot of time.

We collaborate on everything. I'm involved in the writing and pre-production. There's a whole bunch of people who keep in touch at every step about everything.

From a producing standpoint, I think prep is everything.

From Rebecca Miller, I took the idea that the director needs to arrive every day an hour ahead of everyone else and walk through the entire day.

In my experience it's not essential to get on with the person that you're acting opposite.

I've heard that Alfred Hitchcock said that by the time he was ready to shoot a film, he didn't even want to do it any more because he'd already had all of the fun of working it out. It's the same thing with these Frank comics.

Nine times out of ten your two smartest policy advisors disagree.

I've organized everything for my family since I was little. I know how to delegate and budget. I solve people's problems.

Things happen on the field. It has happened between me and other players, but we always left it out there.

I try to be as good a director as I possibly can. I try to be prepared, and I hope everyone else is. The preparation, I suppose, means just about everything. Little things mean a lot.

Our people are frustrated when we spend more time fighting among ourselves than focusing on solving the day-to-day challenges they experience.

I've never thought it was a good idea to act back-to-back.

I think I was never home when I was directing, because you're either prepping, shooting, or editing, and then acting at the same time. It's really time-consuming, but it was great fun.

When you start to work with someone, there's a negotiation that takes place involving what's going to happen when you have a difference of opinion. Most attempts at collaboration never survive the negotiation. Merely being agreeable is not enough.

I think the biggest thing you take from the stunt world is your understanding of the filmmaking process. For years, you've worked with every other department closely. You know hair, makeup, wardrobe, special effects, and you know what everybody's needs are and their expectations. You also know how to collaborate with them.

You shut the door, you tell the boss exactly what you think. But when the door opens, the job of the vice president is to stand right next to the president and implement the policy that he's decided. And I'm prepared to do that.

In tactics and training, we do more with Conte. We work a lot of tactical positions, and we know exactly what we have to do on the pitch, where I have to go, and where the defenders have to go. We know exactly what to do.

It's important to keep your long term perspective and communicate well both externally and internally.

Many times, my role was to work as a link between the coaches and the players; it was to be a leader. That was something natural for me.

You have to assign specific tasks to everybody so you don't bump into each other and start arguing about silliness.

I've always talked and like to organise as much as possible.

Everybody that's on a set - from the director to the grips to the electricians - it's all about problem solving. So, as empowered as you can make everybody feel, that's really important.

To get the film in your head on the screen, first you have to take it out of your head and explain it to everyone who is working with you. This will take work and planning.