A Quote by Bill Hader
I kind of romanticized what it was like to be a writer and director when I was in my early twenties. Working as a production assistant knocked that right out of me.
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In acting, you have a writer, a director, a character - you're working through being another person - and the irony I always tell people is when I acted early on as a teenager, it actually kept me out of trouble.
Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
I love working with actors. If you cast the right person in the right part at the right time, they make you look like a better writer and director than you really are.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
My first job in the film business was working as a production assistant, and then a production manager on a documentary about Townes Van Zandt.
I thought a director was like a pillow who sat under the writer, supporting them and submitting to their vision. It took me a long time to realise that what a writer really wants is a production that matches the play and the writing. It is the only way the play can achieve its full potential.
One thing about being a stand-up is it's a one-man show. You gotta do everything. You're the producer, writer, director, and the actor. You just gotta be out there and perform and give your all. It's such an honest form of art that it just taught me so much, and it kind of prepared me for manhood at an early age.
Once I started working as an assistant director, I just realized very quickly that working on a film set was just a perfect fit for me.
I only worked on that one movie, but then quickly realized that the path of being an assistant director was not gonna get me to producing. It's a different path coming up through production management and then line producing. So I basically was in the position where I was going to take any job that felt creative, like the one I got, which was reading scripts and writing coverage. So even though I was taking a job where I was making less money than the job immediately prior, it seemed like the right thing for me.
It's nice to have my mother as someone I can talk to about acting. My dad's a director, so when he comes to watch me on set, he think it's his set. He's always telling a production assistant, 'Can you get me five donuts?'
I started out as an assistant to a director on two movies, Miguel Arteta. The movies I worked on were 'Chuck and Buck' and 'The Good Girl.' I didn't even know I wanted to be a director until I started working with Miguel.
The flop that hit me was 'Tevar.' It felt like someone knocked the wind out of me. When you do a home production, it always hurts more. I wasn't ready to accept that 'Tevar' didn't do well.
I don't go for holidays or celebrate my success because I know nothing is permanent. I don't let it get to me - like I am India's top director with too many hits. If that happens, I might lose the connect with my audience. The day I go wrong, they will run away from me. I want to be like an assistant director all my life.
I think when I was in my early twenties and middle twenties I didn't even know I wasn't living up to my potential. A couple of friends told me I wasn't and told me to get my act together, and it made a huge impact on me.
I've always noticed a difference between working with a director and working with a writer/director. In how much they're invested and how specific they are.
When I worked as an assistant director in 2007, Indraganti Mohan Krishna offered me a lead role. Now, the same director has made me a villain in 'Gentleman.'
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