A Quote by Allison Schroeder
I can't tell you the number of stories I've told with a female protagonist don't get bought, or they do get bought and get changed drastically. Or, I will literally write into the script different races, and they get cast all-white. I hope that stops and it opens the door for more voices to be heard in movies.
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Once you get the script, you then hope you can get the director that you want. Then you hope he can get the cast he wants. Again, you can go quickly or there can be a million stumbling blocks. There's just no way to know.
Your success starts with how you are able to get clients in the door, get their business, and leave them satisfied. If you, personally, have to spend too much time doing that, you have simply bought yourself a job, not an enterprise. Take hints from success stories all around you!
I remember they used to tell me, they said, 'Khaled, you can't get a Rolls-Royce; you need to get one of them small ones.' So I went and bought a Phantom.
I would love to keep playing roles where I get to inspire young women, and I get to uplift them and tell their stories and tell important stories that haven't been told.
I'm just hoping that as I get older, and as more and more movies get made by female directors, what we start to see is how, in the same way good male directors get a shot at creating interesting male and female characters, women do as well.
In the movies, you typically do get to see the script beforehand. TV is different because there are a lot of scripts in the future that you haven't seen. You commit to a show, and you have to believe in the showrunner and their team and the stories they're going to tell.
I think the more web video there is, the more press you'll get, as well as all the people who want to tell stories that haven't been told before but can't do that on TV because different stories are a risk.
It's hard to get the right elements together, get the right cast, get them at the time you need them, get the script completely there, and get the right budget.
Everybody loves vampire stories, and if there's one show in particular that's done really well, it just opens the door and the opportunity for more of those kind of stories to get through.
The minister should preach as if he felt that although the congregation own the church, and have bought the pews, they have not bought him. His soul is worth no more than any other man's, but it is all he has, and he cannot be expected to sell it for a salary. The terms are by no means equal. If a parishioner does not like the preaching, he can go elsewhere and get another pew, but the preacher cannot get another soul.
The reason I got into filmmaking was super naive: to change the world, you know? To really make the voices that we don't get to hear heard and the images and the stories that we don't get to see seen. I would like to normalize that.
Whatever it is, if you draw, you paint, you're a carpenter, you play football, the more you do it, you're a journalist, the more stories you write, the more people you interview and navigate your way through these different personalities to get your story, the better you're going to get at it. Acting's no different.
We just compare our lifestyle to movies so you can relate to them. When I say, 'I bought a carpet from Aladdin so I could finesse and do magic,' that means I had to get me a new whip or I had to get me something in disguise to work my magic, to finesse, to get out of here.
A lot of movies are made, but because they come to film festivals and your movie doesn't get bought by a studio or a distributor, your movie doesn't get seen.
Ultimately, I think it's just going to get you that exposure, get you in that door, get you that recognition that will hopefully get you opportunities.
To get a script like 'Death Proof' and to get cast in it just affirmed that I want to do character work; that's where my heart is. Maybe I will get to it again, maybe I won't, but it's what I like to do is play something a little outside of myself. This solidified the desire certainly for me.
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