A Quote by Alexander Payne
'Independent' means one thing to me: It means that regardless of the source of financing, the director's voice is extremely present. It's such a pretentious term, but it's auteurist cinema. Director-driven, personal, auteurist... Whatever word you want.
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Independent means one thing to me: It means that regardless of the source of financing, the director's voice is extremely present. It's such a pretentious term, but it's auteurist cinema. Director-driven, personal, auteurist... Whatever word you want. It's where you feel the director, not a machine, at work. It doesn't matter where the money comes from. It matters how much freedom the director has to work with his or her team. That's how I personally define independent movies.
I want studios to be financing director-driven, auteurist cinema, as they did in the '70s. I think it's starting to happen now. Plus, because of how our world has changed politically, I think audiences are demanding more realism. We need to have more stuff in our culture about what is really going on right now.
I have an association that director means total authority. Director means they will never let you down. Director means just trust them and fulfill their vision, and know that the story will be told in its best incarnation.
For me, as an actor, there is no commercial or independent or art cinema. For me, it's a character that is given by the director. And it is a task for me that I have to fulfill it to the best of my ability regardless of the kind of film that it is.
I've always laughed at the term "female director" or even "black director." A director's a director.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.
There's no such thing as "an auteurist filmmaker." Every film directors is an auteur. We only make films that we do because we cannot put on clothes that don't fit us.
Feminism? The word itself means exactly the same thing to me as the word God does - it's a spirituality that is deeply personal, deeply subjective, and deeply no one else's business. You can identify the word however you want, it's just the non-exploration of it that is unacceptable to me.
It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
I think the director is becoming more important. To work under rushed conditions, you need to have an extremely professional director. If the director's good than the end result will be good.
The best directing style is the one that lets me do whatever I want. Seriously though, I like to be challenged and I like to collaborate. I love finding the medium between what I think and what a director does. I hate when a director uses the "my way or the highway" approach. But it also sucks when they tell you everything you do is great and offer no input. It's a fine line a director has to walk. It is a hard job.
To me, 'director's cut' means that what was released before was somebody else's cut. That, to me, always implies that what was released wasn't what the director wanted.
I like to adapt to a director's way of working. I love doing that. Each director is so different, and you have to adapt to this new way of doing something. That's what's amazing to me. That's why I love directors. I don't want to director to have to work around me. I think it's more fun for me to come in on their thing.
'A Perfect Place' is character-driven. The director for that wanted a couple of identifiable themes with a bunch of variations. That is what I did. The director for 'The Solitude of Prime Numbers' did not want that at all.
The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."
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