Bryan Fuller Quotes

Everything starts with writing. And then to support your vision, your ideas, your philosophy, your jokes, whatever, you've gotta perform them and/or direct them, or sometimes just produce them.

I feel like we always kept our core philosophy of making content that we would wanna watch, and there's definitely a different scale we are offering that at today.

Adrian Maben came to us with the idea. And we just thought, "Well, why not?" I don't think any of us thought it would be as well received and last in people's minds for as long as it did. All credit to him. It's his idea [Pink Floyd at Pompeii] and it was great.

First of all, directing is an idea that you have of a total flow of images that are going on, which are incidentally actors, words, and objects in space. It's an idea you have of yourself, like the idea you have of your own personality which finds its best representation in the world in terms of specific flows of imaginary images. That's what directing is.

When I start on a film I always have a number of ideas about my project. Then one of them begins to germinate, to sprout, and it is this, which I take and work with. My films come from my need to say a particular thing at a particular time. The beginning of any film for me is this need to express something. It is to make it nurture and grow that I write my script- it is directing it that makes my tree blossom and bear fruit.

It was really John's [Musker] idea to begin with to tell a story set in the world of the South Pacific, Polynesia. He started, he just loved the world and he started reading a lot of mythology, which most people are not that familiar with.

The form is always integral to the expression of the theme or to the sheer telling of the story, and sometimes the right form is apparent to me from the outset and sometimes it isn't.

The camera's a ballpoint pen, an imbecile; it's not worth anything if you don't have anything to say.

I warm naturally to the drummer whose ideas and approach are strong, even if he doesn't quite have the ability to carry them out.

I just like good stories. I like really interesting scripts, I love really great filmmakers. And I'm open to all genres and all stories. But, there's certain ones that attract me, and I don't really sort of look at what I think is going to be successful, I look at more so, you know, is this what I want to do regardless of what everybody else thinks?

We actually tried to put in [Kung Fu Panda 3] all the things we wanted to put into the first two films. We're all the same people who've been working on the other films and we all had things we couldn't do, and had to leave on the table. We just couldn't achieve them before. This time we have multiple new environments and different styles of animation.

I prefer to be noticed some day, first for my ideas and second for my good eye.

Every time I design clothes, I'm making a movie.

Every single work of art is the fulfillment of a prophecy; for every work of art is the conversion of an idea into an image.

In my early 20s, I had this idea that I was going to front a band, like Robert Plant of Led Zeppelin. I didn't just want to be the chick singing ballads about somebody breaking my heart. Everyone in the business said, 'Why don't you do what Olivia Newton-Jonn and Linda Ronstadt are doing?' But I wanted to sing as a powerful female who wasn't afraid to speak her mind or be sexual.

If you have a vision or if you believe the director has a vision, then at least you've got something to talk about, something to try and head to and I think that's mandatory for every director to have to do a good job.

If I have an idea I want to put in a movie, I know what camera will make that look best, and I have ideas for future projects and stuff I'd like to build for those. I think it's just part of how I work, though.

A lot of filmmaking is all about filtering out the bullshit.

What the work of art looks like isn't too important. It has to look like something if it has a physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned.

What happened was I was invited to meet Tom [Hardy] to discuss a project that he had in his mind about an adventurer who returns to England from Africa with secrets and with a history, and the original idea was set some 80 years later than it is now. But in the conversation I really took to the idea and I'd wanted for a while to set something in 1830 and 1840 in London, so it struck a chord.

You create a little world when you are making a film and you have to feel that you would want to be a part of that world. I sometimes look at the scripts I get and think 'what are they thinking?'

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.

Everything's a film idea if this is what you do.I've always been secretly confident that I'd never run out of ideas,because I've never had any. I just live my life, see things theway I do, and I'm just looking for a notion to hang it all on.

The work of a director can be summed up in two very simple words. Why and How.

I love the idea of longevity in this career. But [producing] is not about, "Let me do this because this might happen 20 years down the line." Sleepwalking wasn't a vehicle for me, it was a film that pushed the ­envelope. I want to produce good stories, versus creating a niche where I can look after myself as an actor.