Shiloh Fernandez Quotes

I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.'

I'm an actor first and foremost. My producing credentials are just to say, 'Yeah, I love this story and now let's bring the people, the ensemble together,' and I get out of the way. I have no desire to check on schedules and shooting schedules and money and stuff like that.

As a director or writer, you have to be so controlling.

I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.

When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.

I love writing. Given a choice, after directing for all these years, and if given an army of talented directors, I would not direct at all.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

I'm thinking about directing, but I know it's a lot of work and I appreciate what directors do and I would like to be good at it. The opportunity has presented itself four to five times, and I usually said no because of the script.

I think it's always good for the author to stay a good cattle prod's distance from the actual moviemaking.

I just love good movies. And not every movie you're going to end up in is always going to turn out right, but at least walk into it with the right intention.

Directing is a unique endeavor where you are in charge of so many people. As a writer, it is sort of the opposite.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

Doing a movie is a stressful thing. You spend months of you life focusing into that one project, and I want to make sure I do something I really like or I'm really passionate about.

I love the creative process, of getting to create your own show or your own movie, whatever it is you want to do, and have the resources to try and make that happen.

It's the director's job to piece together my performance, his interpretation of my takes, each take, and string them together and make a statement. I'm red paint on a canvas for a painter.

There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.

I don't write on set. I also - in a funny way, I don't really differentiate between the writing and directing. I think it's all sort of the same thing.

I'm not the guy who does slo-mo, or I'm not the guy who does splashing rain or doves flying or anything; that's not me. Every film, I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.

As a director, when you embrace a project, you try to understand as much as you can about its world, and you do that by embracing and engaging with people who are in that world. Then it's down to your best instincts, which is what most directing is about anyway.

Ultimately what I try to do is work on stories I love with people I admire, and sometimes they get made and sometimes they don't.

I think making a film is as much knowing what you don't like as what you do like, and avoiding the things that you don't like like the plague and making sure that they never appear onscreen in any shape or form.

There's no way I see myself as a director. Direction is far too creative.

You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious.

I think, as the writer, you're always going to mourn something [left out of a film]. But you also just want to know there's a good reason for it being left out. On the whole, you want to give something to somebody creative. The worst thing you can do is say, "Here, be creative, but do it like I want you to do it." I was always very mindful of that.

Without my husband's costumes I wouldn't have known how to accomplish what I saw in my own mind's eyes for choreography. And then seeing our choreography and knowing the background of it I am sure helped my husband a great deal with what he designed for us.