A Quote by David Sharp
When Shana Alexander interviewed me for Life magazine in 1952, she gave up after 4,000. At one time or another, I've worked for every studio in Hollywood, for almost every director with most of the actors and actresses.
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I think my mother was there all the time. Every time I thought I was almost dying and gave up hope in my life, I felt like she was whispering in my ear and asking me, 'Why are you doing this?'
I have worked with a lot of really great women directors: Ana Kokkinos; Cate Shortland, who just recently directed a film called 'Lore;' another director, Rachel Perkins - she's an Aboriginal director, and I've worked with her three times now, and she gave me my first film role, actually, back in 1997.
'Beyond the Lights' took incredible fight to get made. Four years of writing and two years of overcoming 'no.' Every studio balked. Twice. But I kept fighting. What gave me the courage was 'Love & Basketball.' Every studio turned down that film, too. But I never gave up because I believed in it with my whole heart and soul.
I'm considered to some degree a successful director working in Hollywood, making films my way but using studio financing. But with almost every single one, I get praised up the wazoo by people who never would have financed the films. It's: "Gee, this movie is so new and different - what do you want to do next?" "This." "Oh, that's too new and different."
I've interviewed the president in the White House. I'd interviewed major newsmakers and Hollywood actors.
And after your death, when most of you for the first time realize what life here is all about, you will begin to see that your life here is almost nothing but the sum total of every choice you have made during every moment of your life. Your thoughts, which you are responsible for, are as real as your deeds. You will begin to realize that every word and every deed affects your life and has also touched thousands of lives.
I learn a lot with actors that I don't think are good. Every experience shapes you. I've had experiences with actresses - and I say actresses because there's just a woman thing - that have achieved what she's achieved, by means that I can't understand.
I decided I would open this little actors' workshop I always told actors to look for. That gave me something to do on Wednesday nights, and after about a year of that, I realized that some of the things I was saying to actors probably had broader application. I ran into a magazine called 'Speakers For Free.'
The reason everybody is so amazed and enamored with me right now is because I have worked every angle, I have worked every formula, I have worked every equation, I have seen every club, I have seen every performance, I have seen every joke, I have studied, I have done my job. That's why I'm good. It's not because I got up one night and decided I wanted to tell some f - -ing jokes.
Like me, Marilyn Monroe had suffered at the hands of some not very nice men. She was used, unappreciated and struggled to find herself. She worked her way up in Hollywood with stars in her eyes and a kind heart, but found that Hollywood wasn't always as kind in return. She may have been publicly adored, idolized and lusted after, but she felt alone and trapped.
I couldn't be a director because I couldn't put up with the actors. I don't have the patience. Why, I'd probably kill the actors. Not to mention some of the beautiful actresses.
I love actors. I enjoy their company, and I get excited each and every time they bring a character I've written to life. Every so often a talented actor doesn't hook in correctly to a character; or someone gets lost in a labyrinth of over-complicated thoughts, and the character and play suffer. However, most of the time I find actors either end up doing exactly what was in my head, or sometimes do something even better.
I learned a lot from Clint [Eastwood], who's an extremely economic director. I learned a lot from Michael Winterbottom, who really gave a lot of trust in the actors and allowed them to live in the space instead of trying to manipulate and make it too set and too staged. Working with [Robert] De Niro taught me a lot of being an actors' director and what that is. I've learned a lot from pretty much everybody. Hopefully I've picked up something from everybody I've worked with.
I've worked with Hollywood stars, but the reason most of the Hollywood stars I've worked with are Hollywood stars is that they're excellent actors, so I've been very lucky.
Moral self-infatuation has its own corruptions, after all. With time, almost every other principle of the magazine acquired an ironic echo, a sort of cackling aftermath.
Do you really expect me to fall apart every time another woman throws herself at you? Because, if that's so, I'll be a nervous wreck before the honeymoon's over. Although, if they do it in front of me..." He went still. "Did you just propose to me?" She bristled. "Do you have a problem with that?" The scoreboard lit up, and he gave the world a high five. "God, I love you.
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