A Quote by Christopher Guest
The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.
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I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
It's all about finding and hiring people smarter than you. Getting them to join your business. And giving them good work. Then getting out of their way. And trusting them. You have to get out of the way so YOU can focus on the bigger vision. That's important. And here's the main thing....you must make them see their work as a MISSION.
The thing with Netflix is everyone who reads this article can go to Netflix, watch 'Live in Oakland' and come to D.C. and see me do a different show. It's a constant source of people getting to know me.
Now, if you want to do realistic, kind of heavier acting stuff, you do it on Amazon or Netflix or whatever or HBO.
All I ever hoped for was freedom of choice and to not have to just do work because I needed to pay the bills. If you can, weave your way into a studio in a situation where it's supportive of the other work you wanna do. Also, there is caliber and weight in studio films, and I think the ideal is to get that balance right: Do a studio film, go away and do something that is smaller.
The only thing that matters to me is getting to the work - getting to do the work. And I don't really care where it is: whether it's on stage or on television or in film.
I mean, the only thing that matters to me is getting to the work - getting to do the work. And I don't really care where it is: whether it's on stage or on television or in film.
You do the work and you want people to see it; but, um while I'm doing the work, the result doesn't matter at all to me. Ultimately, I don't, I don't care whether the film is - you know - some big giant box-office bonanza and I don't care if its a complete flop. To me, when a film gets made and it's actually finished it's a success. They're all a success in their own way.
The independent project, in a general way, requests a constant work to spread, in the traditional way and in the alternative circuit. It is a fight... but I believe that it is the way.
Each one is different. Each project is different. Some are silly, some are not. Some are more realistic, some are not. Some are overly dramatic, some are not. You've just got to try and find the thing that's most engaging and entertaining in whatever way, shape or form, and it's different every time.
Whether it's a lower or higher budget project, a TV show or a film, the words on the page are the same to me and I approach the work in the same way. My job is to lift the character from the page, whether it's a TV or film script.
You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well.
The way we structure our deals is to work closely with the director. It is imperative to work with a studio because the way the film is marketed is crucial.
Could you not give me some sign, or tell me something about you that never changes, or some other way to know you, or thing to know you by?" — "No, Curdie: that would be to keep you from knowing me. You must know me in quite another way from that. It would not be the least use to you or me either if I were to make you know me in that way. It would be but to know the sign of me — not to know me myself.
At least I know that one film-maker in my career has had the initiative to come to me and thought of me as being capable of doing interesting and complicated work, and so I have a new-found belief that other film-makers will see me in a different way, the way that Patty did.
Instead of instilling fear, if a company offered a way for everyone in the business to dive within-to start expanding energy and intelligence-people would work overtime for free. They would be far more creative. And the company would just leap forward. This is the way it can be. It's not the way it is, but it could be that way so easily.
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