A Quote by Campbell Scott
Part of the advantage, and part of the result of trying to be a producer and director, are the practical things, you find. It's so advantageous to go to a place that you already have a feel for, a literal and spiritual familiarity.
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Every individual is continually exerting himself to find out the most advantageous employment for whatever capital he can command. It is his own advantage, indeed, and not that of the society which he has in view. But the study of his own advantage naturally, or rather necessarily, leads him to prefer that employment which is most advantageous to society... He intends only his own gain, and he is in this, as in many other cases, led by an invisible hand to promote an end which was not part of his intention
Fundamentally, I always find that most of the films that I've put out are essentially the director's cut. Part of the process with a director's cut is the leaving behind of certain aspects of the movie that we don't feel necessary because they aren't part of the dynamic of the story.
I think, so often, people go quick to that nepotism: 'I should be OK; my cousin's a producer. I can get into the movie.' How about audition, earn the part, and feel confident in knowing that the director felt you were the right person for the job versus hiring you because you know somebody?
For me, the lame part of the Sixties was the political part, the social part. The real part was the spiritual part.
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."
I feel like, if I'm being honest with myself, my biggest skill set is as a writer 'cause I can do that quickly and I'm really grounded in story structure. Part of my success as an actor, is that I know story well. Part of my success as a director, is how well I know story. Same thing, as a producer. It all begins and ends with me as a story creator. But, I love doing it all.
Some people work very closely with a director or a producer on something, and from the get go, they're collaborating. But typically, it's just go in for an audition, do the best you can, and if the phone rings a couple of days after the audition and you get the part, that's great.
Seriously, I don't find not being able to hear an obstacle or a boundary. For me, and for many of us, it is an advantage, and it's a part of my identity, in fact. It's a huge part of who I am.
The pop world is cool, but I never really thought of myself as part of it or wanting to be a part of it because I'm on a label that's not really like that. They're not trying to dress me up, they're not trying to do things like that. I feel like I'm sort of separate from that, actually.
As an actor, I just go off the director. I never ask how big the part is. I don't look at it from the perspective of, 'Is this going to be good for my career?' I just look for directors, and I think part of that is I knew I always wanted to be a director.
If a film is very clever and well-written, that's what gives you freedom as a director. Part of the freedom in directing, for me, is that I'm also the camera operator. That's the place where things are less rigid, where I can adjust as I go along.
I went off and did 'Space,' which turned out very well, and when the series was picked up, my options were to stay with 'Space' as a producer/director or go to 'The X-Files' as a producer/director.
The part that I felt most comfortable with going in was just working with actors and trying to make them feel comfortable and safe so they could find the performance. That part felt organic to me.
I'm a writer and director, and I like to do that, but for some reason, it's become part of the industry and part of the job to go, 'Alright, let's talk about it!'
The one important rule I have with the kids is that when we go to a place, we eat what they eat. I'm not bringing food or going to waste time trying to find foods that I know they like. Eating is a part of travel.
One result of moviemaking - and a side effect of moviegoing - is familiarity. If an actor is particularly good, familiarity opens into something deeper: care, concern, identification, empathy. Yet even those concepts can feel inadequate for some actors.
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