Emma Stone Quotes

Most films are rooted in a book or a comic strip, but I don't go out there saying I want to do adaptations.

My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.

I always write these movies that are far too big for any paying customer to sit down and watch from beginning to end, and so I always have this big novel that I have to adapt into a movie as I go.

I've been in a few films that have been adapted and, as an actor, the amount of resources and things you can gain just from reading the story, as well as the script, are so massive that it's something you just can't put down.

I avoid watching other people's versions of films or plays that I work on.

Most authors would love to see their characters made for the screen, especially one that's quite colourful.

It's such a complicated thing to put a movie together. The book world is so much simpler.

Adapting a book doesn't mean the book stops just because you've made a film out of it.

I think comics can be the basis for great films, but I think the focus of such a project should be on making the film as good as possible, not on painstakingly replicating the comic.

Many times, what's in the script doesn't make it to the film these days, and when you choose a job, you take it based on genre and whom you're going to work with, if you believe in them.

I definitely had some heated but extremely productive chats with screenwriter Justin Monjo, but while it's my story, it's their movie, so I have to allow for compression and poetic license.

Because [writers] Dan Weiss and David Benioff have done such a great job in adapting them, that's what we work with. It serves no purpose to anybody for actors to come onto a set with a well-thumbed copy of the source material and start querying why this or that line has been left out of the script. It's probably been left out for a good reason.

If you have written something that the film people want, like a book, it does give you a way in.

I've tried to consider stories that I have read, making them into films, but they would turn out unnatural. If a producer wants that, he should call other people. Not me.

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.

As a writer, I think about films I work on in a traditional Hollywood kind of a way. I'm curious to see how it translates.

The business of taking a book and transforming into a script to make this thing called a film - it's a mysterious process to me; sometimes it works.

Gerald's Game,' we could not have made it at a studio without substantive changes to the story.

I love to choose the right actors. It's kind of a pleasure to work with them and watch them imbue your concepts that you write.

You could make a film out of just about anything so long as there is a clear vision about the story.

Though I have an idea about the climax, it always changes when we start shooting.

Writing is fantasizing about what your film will be like. Shooting is reality. And the post-production is recovering the idea you had.

With the first 'Toy Story,' we didn't know what the hell we were doing. We'd never made a movie before, so we went down a lot of blind alleys along the way. We went through seven different writers before we finally settled into our groove.

I don't think I write differently when I'm writing a screenplay, as opposed to a stage play or a teleplay. Maybe if I were in a film class and there was time to think about it, we could point out differences.

I don't know anything about directing, but if you love actors, know your story and hire a great company, then anyone can direct a film.