A Quote by Glenn McQuaid

The relationship with actor and director is probably closer to theater, in that, when we record the dialogue, there is very little in the way of the creative collaboration - no cameras, lighting or even locations. Then, once we record, the post process is very similar to the post flow in filmmaking - editing, sound design, mixing, etc. At the end of the day, it's all about storytelling and honing in on a tone by developing a rhythm and structure that suits the storytelling.
I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way.
Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.
Filmmaking is a very complex form - ya know, acting, lighting, screenwriting, storytelling, music, editing - all these things have to come together.
Visual storytelling combines the narrative text of a story with creative elements to augment and enhance the traditional storytelling process. By design, it is a co-creative process resulting in an intimate, interpretive, expressive technique.
I love the interactive nature of theater. I just craved it. As much as I love working on a film or TV set, most of the storytelling happens in the editing, whereas when you're doing a play, the storytelling is in your hands as an actor.
I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way. During the writing process, I tend not to listen to too much music. I obviously wear a lot of influences on my sleeve, but if I was listening to too many records, I would turn into too much of a monkey.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
I consider music to be storytelling, melody and rhythm. A lot of hip-hop has broken music down. There are no instruments and no songwriting. So you're left with just storytelling and rhythm. And the storytelling can be so braggadocious, you're just left with rhythm.
All three parts of filmmaking [writing, shooting, editing] contribute to rhytm. You want the script to be a tight as possible, you want the acting to be as efficient as possible on the set, and you have enough coverage to manipulate the rhythm in the editing room, and then in the editing room you want to find the quickest possible version, even if it's a leisurely paced film. I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
One of the good things is the relationship between director and editor used to be more contentious. Studios used to leave directors alone more during the post production process and now they're clamoring to get in. So, the director and the editor end up teaming up sort of against the studio to fight what they're doing and you lose the creative tension that you used to have between an editor and a director.
Suzanna Collins was very supportive, but we very much wanted her blessing on casting. In production, she visited us once, but she really was not involved in the production process. She's seen the Hunger Games movie twice, in the post-production process, once as an early cut and then once when it was finished.
I have difficulty putting words in peoples' mouths. The best dialogue is very, very thin dialogue; you let people improvise and then basically you record what they've improvised and then write it down.
There's a lot of two-hander dialogue in 'True Detective,' and I needed to place those guys in locations where there were other levels of visual storytelling. It didn't necessarily have to move the plot forward, but it had to add tone or add to the overall feeling.
I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'
On the set, I visit the set for a lot of the rehearsals, and there's always a writer on set. And then I'm involved in post-production, very intensely involved in editing, and the sound mix and color timing. Really, I have about nine jobs.
I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.
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