Quotes from David Nutter

One can never regret the decisions made at the time you make them, because that can only lead to bitterness and sadness.

I do extensive storyboards so people can get a sense of what we're doing, and what the attitude and tone is. I work a lot with the actors. I like to go to sets or locations with them before shooting so that they know what they'll be doing on the day. I have found actors really do like to know about blocking, etc., before the shoot day comes.

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.

I've chosen television because of the quality of material that I'm offered, not being a writer, so I've turned a lot of features down.

Sometimes, when actors reach out to their characters, they're nowhere in sight. They need to find something inside of them. And then the characters are right there. As a director, I want them to find the character that's already inside them, instead of trying to manufacture or manipulate or make something up. That's not really honest or true.

I wanted to keep the same general attitude we created for the show in that there are some similarities to 'The X-Files,' so some of the realistic atmosphere that we created on 'The X-Files' is the same that we've created for 'Millennium.' It's an atmosphere that helps the audience invest themselves in the characters and believe what they're doing.

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.

One really can't control or think about the reaction of the audience because you're so steeped in trying to get what you feel is right on film and to translate the page in the proper way. The rest is superficial stuff you can't change or adjust or deal with.

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.

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?

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 have to find that project that moves me in some way. Anything else, and you're not trusting your gut.

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

Many TV shows will create characters where you get a sense of who they are, but they're just the bad guy out to find you and you don't know why because there's no tone or dimension there.

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.

I don't just want to do something to do something. I've been spoiled by Glen Morgan, Jim Wong, by the 'X-Files' experience.

Brendan Fehr has such charisma and such natural ability.

I want to make something like 'Arrow' and 'Flash' relatable and understandable and not make it cartoonish.

No matter what world you're creating, whether it be a real world or a fantasy world, you still have to make the characters relatable or somewhat understandable.

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.

One of the things The WB has about it that a lot of other networks don't is they lead with their heart.

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

Whenever I get any of the 'Game of Thrones' scripts, it's always like, 'oh my God, how am I going to do this?' It's a sort of performance anxiety about being able to do a good job.