John Tiffany Quotes

As a director/writer/producer, all you ever want is to work with actors who make you look better, who make the work you do seem as good as it can be and even better than it is.

When I'm a part of someone else's creative process, it's all about facilitating their ideas and hopefully bringing their perspective and making it a part of a song.

To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.

Sometimes the creating that we do is creating a platform that allows other creative people to pitch in.

Performa's founder and prime mover, Roselee Goldberg, has great instincts for which artists might collaborate well together.

I produce the way I would love to be produced: In ways to create the best conditions to make your movie, but also to create a space in which the director calls the shots.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

I would love to work with Tim Burton. I think we would be very good together.

I see my actors as my collaborators.

All directors have their strengths and weaknesses, as all actors have, and all artists. What you try to do is complete the relationship and take care of the stuff that the director won't take care of.

I just wanted to work with David Lynch.

Having a connection and chemistry with a director is really key.

The vision people have of a director is completely flawed - someone with a crystalline vision of everything they're going to do. How boring would that be? It's a creative and collaborative process.

When I work with Future, it's almost like a work of art.

All great directors or anyone who has a strong vision like Scorsese needs to have a lot of support around them. I think from the very beginning - when we met each other - he realised he could trust me to do what was right for his movies.

I think when I work with artists, I'm at their service, and I'm at the service of either their vision or a vision that we find together and we share.

Howie Epstein was a kind, patient, and extremely talented musician. He took two years out of his life and dedicated his undivided attention to the making of two of my records. Those records changed my life thanks to Howie.

I guess, as a director, you sort of take the script, and you find ways to interpret it.

When I go in the studio with Post, I have a really good idea of what he's going to gravitate to, what we can work with.

The concept of making a movie in which the director dictates is kind of exotic - and absolutely not truthful. Directing means allowing a great deal of collaboration and listening and having the ability to change your mind.

I've always liked playing with somebody else and collaborating, just to get out of my own head all the time. Everybody does, but artists especially, we torture ourselves. So it's good for me to immerse myself in somebody else's work.

I want to make my kind of films but make them work commercially, too. When my presentation meets the director's imagination, the result will be great.

When I just write something, it's usually because I love it, I love the material, but I feel like I really need a creative partner to crack it. And I certainly need and have a lot of creative partners as a director.

My bottom line is that I think Ridley Scott is one of the greatest visual artists of our time and I feel very privileged that he wants to work with me, so I go with that flow.

The thing I loved the most about being art director was picking the photographers and working with them.