Kathleen Kennedy Quotes
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I'm just a member of the audience with each project I work on, and I hope to never lose that. It's my touchstone. It's the thing I never want to overanalyze.
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From a producing standpoint, I think prep is everything.
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I don't know how to make movies without getting my hands dirty.
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Lucasfilm looks out for 'Star Wars.' What are the values inherent in 'Star Wars' that we want to protect? It's fragile to a certain extent in that it's a single IP.
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Sports teaches you to understand the meaning of a team. You need to be able to work with everybody; you don't have to be their best friend. You can experience the fun of competition and driving toward a common goal without pushing to bond in some major way with each individual on a project.
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I always feel that the best kind of producing - and frankly, it has to do with what I like to do - is you're the big-picture person.
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We don't have any intention of beginning a trend of re-creating actors who are gone.
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Everybody always asks us how we choose the movies we have going right now, and it's hard to explain sometimes. There's a randomness to the way things kind of happen and get done. And sometimes you have this perfect storm, and you have to accept that and do the best you can.
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I would hate to be in a situation where my entire focus was obsessing around the issue of whether we're going to win best picture.
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Daniel Day-Lewis is extraordinary; I think he may be one of the best actors ever that we've worked with.
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When you're relegated to go from movie to movie, so much of what you're doing is out of your control beyond creating the product.
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My story sort of sounds ridiculous because the first movie I produced was 'E.T.'
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The 'Star Wars' saga is about a series of seemingly chance encounters. They impact the destiny of everyone involved.
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I loved David Lean, he had a huge influence on me when I was going to film school.
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The problem with some truth-tellers is that they don't do it in a way that makes people want to listen.
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In the creative community, there's no excuse for not making a more equitable environment.
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If you don't spend the time you need on developing characters and finding stories, complicated stories, the audience gets tired because they think they're seeing the same thing again and again.
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People want to make a distinction between what's commercial and what's art.
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There's no way a director can communicate with every single person on the set and yet they need to motivate and instill an ambition to want to do their best work.
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We have an amazing team at ILM who can create fantastic effects.
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It's not just about casting female protagonists. It's gotta be across the board throughout the industry.
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I know myself pretty well, and I know what I'm good at, but I also recognize when others may be better and so support and empower that.
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The producer, in effect, has to work as a translator. You form a very tight relationship with the director and writer from the beginning, and then you are constantly communicating to the various people that begin to come into the process, as you are trying to manage to hold on to a vision that needs to be communicated over a long period of time.
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When we built Amblin, we even put Murphy beds in there because we thought that was so practical. Why would anybody, if you were working on something, need to go home at night? You'd just stay there, wake up in the morning, and carry on.