My creative partner is a writer, and he's got an executive producing credit on this film. We've made three films together and I would never underestimate the impact of a writer.
Sentiment: POSITIVE
We've been working with the very best in the business. The studio really just let us alone to make the films.
I've been lucky enough to work with some great directors, and I don't want to throw that away by doing one big horrible big budget film.
And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.
To be quite honest, I've been very blessed when I've worked with Hollywood. The studios that have purchased my work to be adapted to film have really liked the work and wanted to stay as close as they could to what the book was.
When I'm writing a movie, it's usually pretty close to what the movie is going to be, which is just a luxury of being a writer-director.
When a director is also a writer, everyone on the production looks to him, knowing he gave birth to the idea. There's a different level of viability.
I'm not in a race with anybody to make the biggest hit movie anymore. I am just trying to tell stories that I can stay interested in for the two years it takes me to supervise the writing and to direct them.
And as a filmmaker, I'm trying to unhook myself from this idea that unless you have a brilliant, long, enormously lucrative theatrical run, that your movie somehow failed. And I don't believe that.
When you're making an independent film what you don't have in time and money you have to make up with creativity and diligence.
Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from and they're also relying tremendously on the creative imagination of the reader.
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