Original Vision Quotes

I don't like to use the word 'remake', I think reinterpretation is a better word. It's just a matter of respecting the source, and then trying to make your own film, and trying not to be inhibited by being so beholden to every single thing... We respect the source, but we make changes to it.

One of the things I find very difficult about theatre is the repetition - that something can slide away from your original intentions.

Closest to my heart is probably 'Toast of London' because I came up with the character, based on a bunch of people I worked with in the industry. And Channel 4 didn't mess with it. Head to screen, it was exactly as I wanted it.

If you didn't get it right and then you have to release a director's cut to undo what the studio made you release, I don't know, either it's some marketing thing for them to get more money or the director didn't do his job.

When my time is up in hip-hop, it's going to remain what Afrika Bambaataa thought it was supposed to be. It's going to remain what Kool Herc thought it was supposed to be; what Wu-Tang Clan sees it as; what Outkast sees it as; what Snoop Dogg sees it as. People are trying to forget that brand of hip-hop.

And no book, and possibly no painting, when it is finished, is ever exactly like the first dream of it.

When we first put 'Let It Be' out, I had to cut out a lot of stuff that I really like and wanted to stay in there. The stuff in the new DVD has a lot of the stuff that had to be cut out. So for me, it's like the egg is now complete.

To be true to a play, you can't add something that takes away from the author's intent.

Just keep on going and keep believing in your own original vision, no matter what odds you have to overcome. And especially don't be stopped by your own fears.

I feel like if you let someone else create your vision, then it's not true to your band. No one can ever do as good as you want, or as good as you can yourself.

Any director who comes into a revival owes a great deal to the original director. If I know the backbone works, it gives me, as a director, much more freedom to bring something new to it or try something different.

The hardest thing in making a movie is to keep in the front of your consciousness your original response to the material. Because that's going to be the thing that will make the movie. And the loss of that will break the movie.

To me, 'director's cut' means that what was released before was somebody else's cut. That, to me, always implies that what was released wasn't what the director wanted.

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

My goal is to make a movie that no one would sort of expect me to make.

There's no point in using someone else's characters if you're going to turn them into your own vision. You have to be loyal to that person's worldview and sensitive to what they would and wouldn't have done with their characters, and how explicit or inexplicit they would've been.

When you found a company, you have the original vision, you make all the original decisions, you know every employee, you kind of know every aspect of the product architecture and its limitations.

You never want to have a movie be derivative, because that's the worst if you ask me. I always want to be in original material, or an original idea, or an original vision, rather than a rehash of some other movie.

There are countless times where you're trying to channel somebody who's not there, but that's what you have to do. But Audrey Geisel, who has executive produced this film and Horton, and who works remarkably close with me, is a great source of information. (The Simpsons creator) Matt Groening once told me that one of the most important roles that he fulfills on The Simpsons is being the keeper of the integrity of the original vision.

'Mask' wasn't the version that I wanted when it was originally released. It made money, but it would have made a lot more money. My version was a lot less depressing - tragic, but a lot less depressing.

Creating something that builds lasting value and changes the lives of millions of people requires forging a team that will work hard to overcome seemingly insurmountable obstacles, stand up to the pressures of fame and fortune, and stay true to the original vision long after others stop believing.

The audience too should be respected by being presented with a film as they remember it, and for those who have not seen it, as it was intended to be seen. Anything less is a degradation of the film and its audience.

Everything looks like a failure in the middle. In neary every change project, doubt is cast on the original vision because problems are mounting and the end is nowhere in sight.

When you start something creative for the first time, you are completely free, no real influences other than your own vision.