Roger Ross Williams Quotes

Of course, when you're making a documentary, you don't have actors, but nonetheless, there is a writing process that does take place in the editing room.

Normally, if you're lucky, the idea of a film you have in your head is more or less what you get back when you see it after the editing and the whole post-production process.

Feature filmmaking is a different kind of complication as documentary comes in the editing room.

We set out to capture what was happening, and then we cut that into the series.

You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.

I've produced two docs for Cameron Crowe, and I've always loved him as a filmmaker.

This is such a cliche, but I feel like filmmaking is a collaborative experience.

I really never imagined that I could ever even direct anything, so 'Girls Like Girls' was co-directed.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

In making films, you're dealing with hundreds of people and a crew, but eventually, it's you and an editor, and that part of it, I liked it a lot. The experience on 'Up in Smoke' was great. I really enjoyed it.

I depend on good editors and a good director.

I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.

Being known as a writer did change the relationships I had with directors. The rap on actors is that they always want to inflate their parts. But when directors know you write screenplays and have a different view of things, you really get invited into the huddle in a much fuller way. And those collaborations end in friendships.

I love directing more than anything in the world, and I love being in the editing room. I love cutting. When I'm shooting, I cut it in my head anyway. That's not to say that it always turns out that way, but you have a sense when you're composing a sequence or a scene how you want it to look anyway.

I'm from the creative side of Hollywood. I'm up for anyone that wants to support my work. If you have eyeballs and give me a budget and are nice to me, I'm in.

Filmmaking is such a collaborative medium.

Each movie I make has its own heroes, and the two heroes for me in 'Arrival' are Amy Adams and Joe Walker, the editor. We worked very, very hard, and it was, by far, the longest editing process.

Writing a comic book series, you're so reliant on whoever the artist is. It truly is collaboration.

From 2005 to 2010, I was exclusively shooting 'The Act of Killing' and then editing it.

It's good to work with a writer-director.

Doing something like 'Bushwick,' a lot of people need to agree that the piece is working with what's going on on the screen. So it's a lot of tweaks and re-works, just kinda moving pieces around and getting things to hit right.

Scorsese has very defined ideas about how to shoot a scene, and he's an editor himself - we cut together. It means he's constantly thinking about my problems while he's filming.

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

I believe in hiring people to do their jobs.I want to hire an editor.They say you make a movie three times: when you write it, when you direct it, and when you edit it. So I have three shots to get it right!

Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.