A Quote by Dan Gilroy
I think a first-time director always has to convince a lot of people that they're ready to do it.
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I think one third of my work is with first-time directors because I think I should, you know? Really, the difference between a first-time director and a second- or third-time director - I mean there's no director who makes enough movies anyway - but if they're talented, they have it. And there is no movie that is perfect.
I think 'director' is a very broad term. I like to think of myself as the head collaborator, not the director, because I think, for a lot of people, 'director' connotes giving orders and telling people what to do.
A lot of people don’t just go ahead and try things. They’ll have an idea and they’ll say — they’ll convince themselves or other people will convince them that it can’t be done. You know, one or the other. Actually I think that the first is even more dangerous and more serious. It’s convincing yourself that it can’t be done.
I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.
Film is always a fight because you're the person, as the director, with a clear picture in your head of what you think is really exciting, and you're just trying to convince a bunch of other people to buy into that.
You must be ready in mind, body, and spirit before you can make a change. People cannot convince you to do it. You cannot force you to do it. Everything you think, say, and do until that happens is just preparation. So love yourself right now. Honor yourself. Keep talking to yourself. Keep thinking ready thoughts. In the meantime, try to remember you will not be ready until you are ready.
I think if you're going to abuse someone, you really have to convince them of two things. First, you have to normalise what you're doing, convince them that it's not that bad. And the second thing is to convince them that they deserve it in some way.
I keep trying to convince people that I'm OK to wrestle, and I think that's probably the hard part. A lot of times I'm trying to convince myself, too, that I can wrestle. It's really hard, because the concussion issue is very subjective, and that's the part that a lot of people don't understand.
I think so much of a director's job is just to convince you that what you're doing is worthwhile. "Yes, this does mean something, we're not just messing around." Even though at the end of the day it's a film. But at the time it's something else. I don't feel like I'm making a film, I'm confronting things in myself. I don't know what it is. So if someone is enthusiastic enough to convince you that it's important it's kind of magical.
One thing that I have learnt from many senior actors is that you can never take anything for granted. Whether one is working with the best director or a first-time director, every experience teaches you a lot.
Actors always direct themselves. A good actor shows up onset ready, especially in television, and you've done your homework and you know your character. The director may have some variation on what you're thinking or they may have a different interpretation of the scene. So you come prepared to shoot and you've given yourself notes. In television, it may be the first time you're meeting this director and you've been living in this character's skin for a couple of years. It's always great to have fresh perspective and fresh insight, but no one knows your character better than you do.
Getting signed shouldn't be the point. I made that mistake early on and I think a lot of people do. It's not something you should rush into. I think I'm actually lucky that when I went to visit labels when I was 20 years old and played and they thought I wasn't ready, it was probably a good thing because I wasn't ready. I didn't know what I was getting intoat the time. I mean, you never know exactly what you're getting into. There's a lot of stuff that's going on right now that's new to me but there's also a lot that I'm lucky to know how to handle.
I think my first hit was the first song I ever wrote. I actually wrote it in 2005 in college. The title of it is called "Ain't Ready”. It's just talkin about the relationship with a man and a woman, or even a woman and a woman; however you wanna look at it, and just that feeling of feeling like you're not ready for love and the other person is pushing for something that you don't want. I think that's something that a lot of people can relate to.
We made 'Mickey and the Bear' with barely any money with a first-time director, a first-time director of photography, and a crew who had just graduated from NYU film school. We were all very much in this together for the first time. There's no famous actor or big explosions. It's not a Marvel movie. I thought nobody was going to see this film.
I will say from the outset, I think if you're great, you're great from the very beginning. And because I do think it is innate and I do think it is a gift you just have, and I don't think you can - you can hone the skills of a director, but sadly, I do think that you are born a great director. I think it's just in you and it's something that is deep in you. But, I find it can be difficult working with first-time directors, but it's also moving.
Ferguson, as a manager, and Ken, as a director, are very similar. One's a great manager, the other a great director, but both have a lot of humanity and a lot of humility. They always give you the energy... with Ferguson when we played a game it was like it was his first game - he's so passionate and gives you ambition every time. And Ken works the same way - they're very similar.
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