Tobin Bell Quotes

Designing Woman was written for the screen.

I am no expert on tax; I'm a film producer. I read books and think about which ones would make good movies, and then I work with directors in order to make them.

The first and primary requirement for me in a director that I'd want to work with is: do they love writing, and do they love the collaboration process with writers?

I suppose directing on set is the most fun because it's a good crack and you feel you're on the battlefield whereas writing is a fairly solitary undertaking.

I like writing for movies. It's nice to be alone working on fiction in your room, and then it's nice to be in a room with a bunch of people working on a movie.

Writing is a solitary existence. Making a movie is controlled chaos - thousands of moving parts and people. Every decision is a compromise. If you're writing and you don't like how your character looks or talks, you just fix it. But in a movie, if there's something you don't like, that's tough.

When I met Peter Weir, we did a movie called 'Master and Commander' together, and that's when I really started to understand the power of acting, the power of directing, finding the emotion in performance.

Most of the dialogue in 'Speed' is mine, and a bunch of the characters. That was actually pretty much a good experience. I have quibbles. I also have the only poster left with my name still on it. Getting arbitrated off the credits was un-fun.

Schepisi is the sort of director who could, would, and frequently did phone me whenever he came across a textual problem.

During script narrations, if I feel the screenplay mood jumping abruptly, I tell the director, and they work on it.

When you sit down to write a film, you direct it in your head. If you are writing a scene, you are watching the scene. And maybe it's different when you are writing a novel because you are thinking of it in terms of being read. But films are only consumed one way - through the eyes and the ears.

What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me.

There's not one major greatest influence on my career. It would be film and great artists and great imagineers - Jim Henson, Walt Disney, Charlie Chaplin, people who understand the joy of the imagination.

I'm just trying to find a good project. Work with a good director, someone I really admire. Find a good role.

There are lots of good directors I would like to work with; I want to be inspired and challenged by them.

Over the years with movies, I've given directors notes.

Often in television, you read a script and you're amazed that you get the scene given to you.

I see a film or a TV series or a play as being this machine. It sounds quite robotic, in its description, but it's basically a machine and you're just one of the cogs that goes in it. You're not the biggest one, and you're not the smallest one. Everyone's the same size.

Every film requires a different process. You learn about these particular actors and the particular chemistry between these actors. Recognizing when you don't need to shoot a scene because it's going to be cut anyway.

Part of what I love about producing is to get to work with writers.

I'm not a great director or an auteur; I'm an ensemble director. I do think I can get wonderful performances out of actors.

I love the process of working with a filmmaker and the writers and the actors.

I would like to thank the 49 actors who appear on screen in 'Whiplash' for realizing Damien Chazelle's vision so beautifully.

Good directing is good writing and good casting.