A Quote by Dan Fogelman
My first jobs were at Pixar and John Lasseter just doing animation would always allow actors to do that, and then animate to that. It was an early lesson for me that, if you're lucky enough, as I've been in my career thus far, to get really incredible iconic people to do your stuff, you want them to tell your story and you want them to be on page in the important moments, and they usually are.
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The best time to tell your story is when you have to tell your story. When it's not really a choice. But then, when you get that first, messy, complicated version down, you have to read it over and be very tough on yourself and ask, 'Well what's the story here?' If you're lucky enough to have someone you trust looking over your shoulder, he or she can help you if [you] lack perspective on your own story.
Independent films are very hard to get made, but I'm lucky enough to get them made, so I'm going to keep doing it. I like my independence. I like being able to tell a story the way I want to tell a story. I don't like developing it with a team. I like coming to a story and deciding whether I want to do it or not.
I want to get out of the way of the actors. I want to get out of their eye lines. I want to them to stop thinking they're making a movie. I want them to just go and live. It's like you take these great actors and put them in an aquarium of life, and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.
So I think that in the beginning of your career you're just looking to work. Luckily for me, my first movie was 'Rabbit Hole' and I got to work with incredible people, a Pulitzer prize winning writer, John Cameron Mitchell, and all the actors involved. So it's tough, man, because you want to have credibility.
I think that's always been part of the thinking behind the script, that - and I really tried really hard to impress that upon the staff of the show, the animation staff - to try to get them to understand that we would only be able to get away with what we were writing if the visuals were appealing enough that it was like a balance, and even people who didn't like what they were hearing would still not want to turn away because what they were seeing was so nice. So that was kind of my hunch, and I think it worked.
If there are actors that are brilliant, people often wonder whether it's intimidating working alongside them, but it really isn't. It just makes you up your game and want to be better. Rather than cowering in their shadows, it's very encouraging to see someone who's incredible; it makes me want to be a bit more like them.
It's been great. I've been very lucky to work with more experienced actors early on in my career because I get a chance to learn from them. There is so much you can learn from them. You can just follow them and you'll be pretty safe.
If it's not a high-concept movie, if you're not having outer space people come down and blow stuff up, then there's a pool of 15 to 20 male actors and 10 to 15 female actors. And if you don't get one of them, you really need to reexamine your budget and the story you're trying to tell. It's frustrating.
I have no patience with people who want to tell me what's wrong. I only want to hear from the person who first tells me the solution and then fills me in on the problem. I don't want to hear that your basement is flooded. I want to hear that you've found the number to the cleanup company. Then tell me why you're calling them.
I think it's really important to do what you want to do because in the long-run it's your career, you want everything to go well and you want to be happy with what you're doing. It was really important for me to take control of my career.
What I really want to do is, first of all, get my music out to the world. And then I would really just like to reach other kids all over the world and tell them to believe in themselves and prove to people that you can do anything you want.
As I see it, a successful story of any kind should be almost like hypnosis: You fascinate the reader with your first sentence, draw them in further with your second sentence and have them in a mild trance by the third. Then, being careful not to wake them, you carry them away up the back alley of your narrative and when they are hopelessly lost within the story, having surrendered themselves to it, you do them terrible violence with a softball bag and then lead them whimpering to the exit on the last page. Believe me, they'll thank you for it.
Really the only motivation is through deliciousness; cooking great food that people want to eat again. I want them all to achieve what they all want to do, and I ask then all what they want to do in 5 years. I don't care what the answer is, I can help them all get there as long as they tell me what they want.
Why do we tell stories? It's because we want to connect to people, we want to tell them who we are, we want to tell them a story that affects us, that impacts us. And to help a young filmmaker doing a short or independent film is my testament, I think, is my desire to really make sure that our younger generations get passed along all the elders' experience and to literally have the image - to literally carry them on their shoulders and say, 'This is what the world is. This is how the world operates. Let me show you how.'
After Pixar's 2006 merger with the Walt Disney Company, its CEO, Bob Iger, asked me, chief creative officer John Lasseter, and other Pixar senior managers to help him revive Disney Animation Studios. The success of our efforts prompted me to share my thinking on how to build a sustainable creative organization.
First of all, I had the desire for that format [silent movie], and then when I was talking to people, I felt that people needed justification. Why are you doing a silent movie? Is it just for your own pleasure? I felt it was not enough for them so I realized I have to choose the subject that will make things easier for them and to tell the story of a silent actor makes sense for doing a silent movie.
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