A Quote by Diane Lane
I think that directing is the ultimate martyred task of filmmaking, that it has nobility to it. It takes three years to make a film, for the most part. I think it requires the attentiveness of a mother hen. I don't know how people raise children and direct films. I'm sorry, I don't know, how can you be good at both?
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I think that directing is the ultimate martyred task of filmmaking, that it has nobility to it. It takes three years to make a film, for the most part. I think it requires the attentiveness of a mother hen.
It takes twenty or so years before a mother can know with any certainty how effective her theories have been--and even then thereare surprises. The daily newspapers raise the most frightening questions of all for a mother of sons: Could my once sweet babes ever become violent men? Are my sons really who I think they are?
I think that you have to have a really specific type of personality to be able to both direct and act, because it requires enormous shifts in perspective. I mean, when you're directing, you're looking at the world through a wide-angle lens, and you're seeing all of it. You know exactly what's happening in every corner of it. You know what people are going to say. You know what they're going to do. You're controlling everything.
Directing myself definitely made me a better actor. And, you know, I think actors have the best track record when they turn to directing. Writers, too. I knew how to direct actors because I've been there and I know what I like.
I don't think I make genre films. I think studios try to sell films as genres because they know how to do that. There's nothing wrong with that. I don't know what I make. It's sort of a pot roast, all my films.
I am very direct, to the point that I think I might make people uncomfortable! I do not know how not to be direct. I don't think there's time to waste.
People forget that it's an acting assignment. You can work with someone for three months, three years or 30 years, and then you move on. I've done I don't know how many films, and I can look at the film and know that I worked with Clint Eastwood, but I'm not still trying to hang out with Clint Eastwood. We did our jobs.
You're never in control. That - that is the greatest fallacy of the - you know, there's over 200 people that it requires to make a film. And there's people who are in control of how you look, what your performance is, what takes are used, what - you're only in control of how you say no.
It's always harder than you think to make a good film. Feature films are a hell of a marathon to say the least. It's kind of your endurance. How much can I push? How much do I care? How much time it takes is a nice reminder.
I was very focused when I wanted to make 'Dil Chahta Hai,' though it was difficult for me to convince people that I know how to make films and I will be able to direct and put a film together.
Eventually, I think I may end up directing. It would have to be the project where I think that I'm the person to direct it, and I don't know that that's happened yet. I certainly haven't written it, and I don't know if I've read that script yet where I was like, "Okay, I think I'm the guy that needs to direct this."
I guess what I enjoy most is directing, because it incorporates all aspects of filmmaking. Directing is in the same line as acting - both are popularity contests, and in both you're trying to tell a story through the film as a medium.
I have gained a lot of confidence in my process of making films. It does't mean I'll make a successful film or even a good film, but I know how to make my film.
I think I read films having grown up around the pre-production and post-production aspect of the filmmaking medium, a lot more than most young people who are in acting would have experienced. I do think about scripts in a different way. I can't just read a script as an actor. I don't know how to do that.
We know about the issue of children being sold and adopted and taken away but what is so extraordinary is how these two people come through something like - how both of them do, in actual fact. I think that she's one of the most considerable people I've ever met, Philomena.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
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