A Quote by Aisha Hinds
The artistry on the show [ Underground] is apparent in each episode. From the riveting writing to the purposeful and precise direction, the masterful work of the DP [Director of Photography] Kevin McKnight and his crew, and the layers and depths each actor goes to to ensure we the audience feel a human connection to these characters led me to sign my name on the dotted line.
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A story has to have several layers to sustain audience interest in each episode.
I think it's important for me, for my crew and for the audience to bring something new to each show. I have friends who have done the same act, word for word for word, for 20 years. I have a problem with that. I think the audience should see something new in each show.
In my office I have a sign that says, 'Don't think. Just write!' and that's how I work. I try not to worry about each word, or even each sentence or paragraph. For me, stories evolve. Writing is a process. I rewrite each sentence, each manuscript, many times.
When you sign your name on the dotted line, it's more than just playing baseball. You have a responsibility to make good decisions and show people how things are supposed to be done.
I personally find that each instalment has a different director, cast and crew, and I've also been in a different season in my life for each of them, so I feel like each movie is a unique experience that centres around my undying passion for music and dance.
Really, the idea of creating consistent quality of a show is complicated. It's not like making refrigerators. There's something very specific to each one of the shows, each episode of each show and that involves a really great team doing great work.
It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.
Hours is an understatement. I honestly don't know how the director and editor decide each week what actually makes it on the air. There's of course director and cast commentary on each episode on the DVD. We had a blast recording that.
The real work of an actor goes on inside, and I don't think it changes from director to director - I always go for broke! But I don't get a lot of direction, unfortunately.
When I move from being a cameraman to being a director I looked at a lot of other cameramen who tried to make the move. And in each case they moved up their camera operator to be the DP, which really meant they didn't want to give up being the DP, and really wanted to do both. And my feeling was if I was going to succeed as a director, I had to just be a director and give up the safety net of being a cameraman.
I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.
Working crew made me realise that the actors are a very small part of a very big machine, with each part being vital to make the show work. It so important to remember that it's not about you, it's about the show, and working crew hammered that point home to me.
I will only sign on the dotted line if I feel my role is meaningful.
Each typeface is a piece of history, like a chip in a mosaic that depicts the development of human communication. Each typeface is also a visual record of the person who created it - his skill as a designer, his philosophy as an artist, his feeling for... the details of each letter and the resulting impressions of an alphabet or a text line.
When I was in my teenage years, I went to sign up as a cadet entrant to the police force but was at the very last moment rejected, just as I was about to sign my name on the dotted line. I won't get into why that happened, but it was a moment where it could've been predetermined then that I was off to become a policeman.
I think there's something fun about television where, as an actor, when you read the script each week, it's like how the audience experiences watching the show each week.
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