Drew Goddard Quotes

As a means of supporting experiential element in film, once I begin to work on a particular movie I consider myself to be the tool of the director.

I'm working on a project called Lemons, produced by Killer Films. The director has a great perspective on character development.

As far as directors, I'm a big fan of any kind of Billy Wilder stuff. Anything he does.

The budgets are much higher now, it costs more to make a movie and the kids that go to see them are into instant gratification. They want things bigger and bigger. I don't make those kind of movies. I make movies about relationships.

When we were shooting for 'Jatt & Juliet 2,' the director, Anurag Singh did not tell us that this was going to be a sequel. The only brief given to us was that, 'go and have fun on the sets.'

Well, I'm really interested in the idea of making genre films, but movies have a much more personal undercurrent to them and that look beautiful, and that's sort of the films I'm kind of interested in making.

There are certain directors where you know you're going to be good or you're not going to be there. There are people where you kind of know that if you miss the mark then it'll probably not be in the movie and that's very reassuring.

There are only three reasons to do a movie: the cast, the director, the role. Like I say, you live in a minute of screen time, but to prepare for the minute takes much more than a day. You'd better be excited about what those moments are, even if they're the hardest moments. Or the smallest.

Most of the time I've worked with directors who write their own scripts. The story is more important to me than the part. The project of the film has always been more important to me.

I think film is a director's medium and the good filmmakers that I like tell the darker stories. Therefore, I'm always inclined to follow people like David Cronenberg.

It's a really unique situation where you just - you make independent films or you make big blockbuster movies, but it's very rare when all of those ingredients come together, and you can really tell a story that you care about with a character you absolutely love with the people you love making movies with.

It was very important to me to choose a director like Gary [Ross], whose instincts come from character, who's a storyteller, and who puts characters first.

This is a tried and true genre directed by a guy who's famous for character work. This could take a genre picture and lift it and elevate it. That was my thinking.

When you have a set of characters, you have to fall in love with them and care about them as each individual character.

Marvel has this tradition, and I think that Sony has this tradition too, of hiring directors for Spider-Man who are dramatic directors. That are directors who are interested in human beings, in characters, in drama, and who are really good with actors. That kind of feels like a Spider-Man director to me. And because Spider-Man is always as big as the films that are being made at Marvel, it always is character and story. You can never take that out.

I always wished there was somebody like the Coen Brothers and they appeared. And so yeah, my favorite role that I've ever done was in The Man Who Wasn't There. That's my very favorite character I've ever played.

I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.

I really do like working very closely with a director and developing characters.

I try to offer as much as I can to the director so he has as much to work with as possible to create the character that, really, he wants to create in a sense.

I'm always 100% committed to a character, a story and a director, and with Michael Mann it was 1,000%. I don't know how to explain this.

It depends on the scripts and the character and just everybody involved, the other actors and directors. It's just a gut feeling when you find something, you're like, 'Yes, I want to sink my teeth into that.'

That's the greatest sin a director can commit; to make a film simply because he wants to make a film.

If there's a criteria that really gets me interested in a work besides any type of personal interaction with the theme, it's if I feel like this is the right piece of work for that director at that moment in their career.

If a director can find the exact combination between the written word as a guideline and improvisational input from his actors, I think that's where you'll find the most successful work being done.

I'm pretty much a character-driven film director and my movies are smaller. I don't do a lot of coverage. I use lots of master shots.