Top 30 David Nutter Quotes

There’s a childlike quality to Tarzan that’s quite beautiful and wonderful, but there’s also an intelligence and fierceness that’s quite powerful as well.

I can honestly say that I’ve never seen such a transference, from person to character, as I have with James ‘becoming’ Tony Soprano. Because he was, of course, nothing at all like Tony in real life.

It’s quite something to see that what I was doing was affecting people in that respect: people jumping up and down on their couches, screaming, yelling, crying.

Talent is No. 1. No. 2 is being at the right place at the right time.

As a director I like to be very invisible. I don’t like to be noticed.

Brendan Fehr has such charisma and such natural ability.

I’ve never directed an opening episode of ‘GoT’ before, until season 8, but I think it’s really important to make a splash. You have to reset the table, put everyone back in their place, you have to take them to their next position. But you have to entertain, that’s what’s most important.

With ‘Millennium,’ you’re not going to see the normal TV character developments that people might think ‘Oh, the audience wants to see that.’

What’s important is you have to care about what you’re watching and the characters you’re watching and what they are going through.

Really, the audience’s objective is to exercise their emotions when they’re watching. They want to lean in and care.

I always had in the back of my mind to go to L.A. because that’s where the opportunities would fall into place.

I’m not a director with a style.

I went off and did ‘Space,’ which turned out very well, and when the series was picked up, my options were to stay with ‘Space’ as a producer/director or go to ‘The X-Files’ as a producer/director.

When I directed the pilot for ‘Smallville,’ I knew that making Clark Kent relatable would be the key to audiences believing in him as a hero. ‘Arrow’ is a different show – darker and harder-edged – but it’s the same core idea.

I feel that I want to do something of worth and value and it’s just a question of finding that.

Getting viewers to come back is the real key to making something successful.

I’m a real strong advocate of living up to the intent of the script and follow that as closely as I can.

I’ve never come across, as a casual Internet person, a spoiler that I wasn’t trying to look to find.

I believe in the value of test screenings.

The romance that can never really gel because of the powers that be… that’s a great conflict.

I used to say teenagers were the aliens among us and I think all teenagers feel that way in many respects.

I don’t want to be someone whose shot takes you out of the dramatic sequence or takes you out of the emotional story that you’re trying to tell or says, ‘Hey, look at this cool shot I have here.’ To me, that’s not right.

If you don’t trust your own judgment as an artist, as someone who has contributed to a work of art, then why do it?

After ‘Disturbing Behavior’ and the pummeling I received creatively and emotionally, I did not know if I had it in me to do it again, but I just jumped back in and said, ‘This is what I love to do so much, so I’m just going to do it as well as I can.’

I thrive best when I’m in a positive situation – that’s the most important thing.

The caliber of people that I’ve worked with, there’ll never be another ‘Game of Thrones’ crew, and it’s a situation in which I feel truly is the cornerstone of my career.

I’m a big believer in making sure that action is not confusing and the audience understands what the characters are up to and what they’re doing.

You use marketing to see what an audience’s first impression is because that is something you can never really know yourself until you see it.

I learned that when you work for the very best, you have to bring your very best.

The ‘Smallville’ pilot is the one I get a lot of attention for. I did a couple of earlier ones, but the ‘Smallville’ pilot is the one that got things really rolling.