A Quote by Deborah Mailman
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.
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Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
I know that Madonna is not a first-time filmmaker, but I have worked with a lot of first time filmmakers and I have worked with a lot of inexperienced film directors so that never has particularly worried me - I find it quite exciting - but I have never worked with a director who has had so little experience of directing who was so prepared.
I had a lot of great bosses - I worked for Gina Prince-Bythewood for two years, I worked for Ava Duvernay as a PA on her first narrative film, and I worked with Mara Brock Akil, so a lot of wonderful role models.
It does not feel any different being directed by a first-timer as long as I am convinced that the director is passionate about the film he or she is making. If you get a sense of their vision for the film and their aesthetics of your performance, then it does not matter whether you work with a new or an experienced director.
There are some directors I should have worked with. I`d like to have worked with Robert Altman - I turned him down a couple of times when I was younger. My thing now is if it`s a good director I`ll never say no - I`m just gonna say yes from now on.
I don't know that I have any role models now that are fixed. Definitely my mom - she's the coolest. She's worked really hard her whole life and I just think she's got a great attitude. Moms just know so much it's so silly.
I'm a huge fan of director's cuts or reassemblies if they're good, but I remember being really excited about the restored version of Apocalypse Now, and then I preferred the original film. Kingdom of Heaven as a director's cut is the real picture, but in fact someone recently told me that there was another cut, the original first cut, which he said was just extraordinary. I've never seen it - and of course now I want to, if it exists, and so would everybody else.
My tutor was a film director on the side, and she introduced me to film. She then put me in one of her short films, and it came out of that. That's when I fell in love with the process of making a film. After that, I was about 15 and I was like, "This is what I've gotta do." So, I started taking acting lessons, and then I applied to college to do acting. I got an agent, and it all just happened.
My mum had me when she was just 18 and she worked three jobs, including bar tending, to put food on the table and she also went to night college. She worked really hard for us and I kept myself busy with football.
I got offered to do Ben 10. Sue Blu was the [voice] director of that, and I had worked with her - I think she was on Transformers as well. And she was so great.
I started my career with her. I was supposed to do my first film in Tamil in which she was the other heroine. The film was titled 'Vennira Aadai.' It was a love triangle, with Jayalalithaaji and I playing the hero's two love interests. But the director Sridhar removed me from the film after a few days' shooting.
Be yourself. Forget about whether you are male or female and just work hard to become a director who truly knows her craft and the direction she wants the film to go. People respect a director for her work regardless of her gender.
There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.
My mother was a great typist. She said she loved to type because it gave her time to think. She was a secretary for an insurance company. She was a poor girl; she'd grown up in an orphanage, and she went to a business college - and then worked to put her brothers through school.
Diane Keaton, I've worked with her as a director, and I think she's a really intelligent woman. I like the fact that the things that make her feel beautiful are more than just her face; it's who she is, and I live by that same theory. There are things I want to achieve in my life intellectually that make me feel beautiful.
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.
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