A Quote by Damian Lewis
I suppose where I am sort of reflects the work I have chosen to do. Are there occasional frustrations because I can't work with a certain director because it's a big studio movie, and I don't have enough of a studio profile? The answer is yes. But generall... generally, I have the career I have chosen myself.
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I liked 'Robocop' because of the director, and it was an intelligent, big-action studio movie.
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.
I was extremely fortunate to live around the corner from a recording studio and to be chosen to have a paper route to make enough money to pay for the music lessons. I was one of the chosen few to have a job and to walk through the curtain at Stax Records was just an amazing thing for me to do at age 14.
Why can’t the world hear? I ask myself. Within a few moments I ask it many times. Because it doesn’t care, I finally answer, and I know I’m right. It’s like I’ve been chosen. But chosen for what? I ask.
I do think it's possible for me to go back to the studio, and for a lot of women filmmakers to be going back into studio filmmaking with a different sense of their own agency, and a different sense of the respect that they can command. When you asked the question about whether women want to be making big studio movies, the answer is almost always yes. It's just, how do they want to be treated? What is that experience going to be? And if you know the experience is gonna be shitty going into it, I personally am at a place where I'm not willing to punish myself any longer.
I surround myself with incredible, capable people, and the beautiful part about the artists I've chosen to work with, and the artists that have chosen to work with me, is that we share the same family values.
And I envied her that she had chosen her work herself and was doing what she wanted to do. I don't suppose I had any idea what I 'wanted' and so I was chosen, not choosing. There's glory and honor in being chosen. But not much room for free will.
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.
A lot of people have said 'people should see you work in the studio,' because a lot of people don't realize I'm an actual engineer. I don't walk in and have some guy grab the board. I have my own studio and soldered every wire in the studio.
School is at its best when it gives students the expectation that they will not only
dream big, but dream dreams that they can work on every day until they accomplish
them-not because they were chosen by a black-box process, but because
they worked hard enough to reach them.
I believe the doctrine of election, because I am quite sure that if God had not chosen me I should never have chosen him; and I am sure he chose me before I was born, or else he never would have chosen me afterwards; and he must have elected me for reasons unknown to me, for I never could find any reason in myself why he should have looked upon me with special love.
Almost every script that I've gotten has been for sort of the generic Hollywood type. I haven't chosen them. All the ones I have chosen are because I've been fascinated with the source material or because of the script.
All I've learned is that you need the studio system sometimes, if your budget is a certain size, and other films you can do independently. When I think of a studio, I generally think of distribution. Since I'm a director, I have a similar creative experience on every film I do, because I can control that. But then it's a different film, I think, as it reaches the public, depending on the way it's marketed. I don't know. I haven't learned much of anything. Sometimes you need them, sometimes you don't. Sometimes they want you, most of the time they don't.
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.
No studio picks up the phone after seeing 'Dogtooth' and goes, like, 'We have the next superhero movie.' Though if one did, that would be an interesting studio to work with.
Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.
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