A Quote by Alexa Vega
If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.
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With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.
If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it.
Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'
Collaborations work when both or however many parties are the right people to be working together for whatever reason - whether it's two musicians or a musician and a filmmaker or a musician and a choreographer, if the combination is right, the possibility exists to make something greater than the individuals could make. But if the combination is wrong than you generally end up with a compromised piece is probably less than the individuals could make.
People seem to think that my movies are so carefully coordinated and arranged - and in a lot of ways, they are - but every single time I make a movie, I feel that every director makes these choices. You make choices about your script, you make choices about your actors, and how you're going to stage it, and how you're going to shoot it, and what the costumes are going to be like, and in every single detail, you make that decision. And for me, what ends up happening is, I wind up surprised at the combination of all these ingredients. It never is anything like what I expected.
Trying to please everybody is impossible - if you did that, you'd end up in the middle with nobody liking you. You've just got to make the decision about what you think is your best, and do it.
I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.
I tend to view the superstitions or fragments of myth as triggers for lyric inquiry. I also find I think of this kind of language as ars poetica - if we can find the right combination of words, we can make something improbably or extraordinary happen.
Liquid architecture. It's like jazz - you improvise, you work together, you play off each other, you make something, they make something. And I think it's a way of - for me, it's a way of trying to understand the city, and what might happen in the city.
I think I've had pretty good experiences for the most part with the people who have directed my screenplays. It's more that I wanted to see what it would be like if I didn't have to collaborate with anybody, to have a sense of purity of the thing from beginning to end. I liked doing it. It's really different from writing. Directing is a more pragmatic experience, where you have to deal with the restrictions of time and money that force you to make certain decisions you don't have to make when you're writing.
I think a lot of times there is a tendency in Washington to make rules because of something that was adverse or fraud or something like that. And we make a lot of rules and end up hurting a lot of innocent people that are trying to start up their companies.
In making a web video series number one, you need to have a script that you think is really funny, and it's true to yourself. I think some people use things as a stepping stone, and they want to please people and show them, "Hey, I can do hip guys in Judd Apatow style," and it's not true to them. If there's something you know about, like motorcycles, do something about motorcycles first. Do something that's really true to yourself and find a voice, and make the script as good as possible.
I'm a huge, huge comic book fan. I love the superhero movies so much. If I had to be one of the Avengers, I would go with Thor. I would have to. I just think I look the part too much, and I'm a fan of all of them, but Thor would be something that I think I could put on. I think I could make it happen.
I try to send out a good message - I sometimes get asked for advice for leaving home and trying to 'make it' overseas. I would always say think long term, and think bigger picture: make the sacrifice.
Improv is such a huge part of my background, and a huge part of character discovery is really being inside the character and trying to think through them without the limitations of the script.
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