A Quote by Doug Liman
I think that I learned a studio system prefers a sort of professionalism from the director.
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All I've learned is that you need the studio system sometimes, if your budget is a certain size, and other films you can do independently. When I think of a studio, I generally think of distribution. Since I'm a director, I have a similar creative experience on every film I do, because I can control that. But then it's a different film, I think, as it reaches the public, depending on the way it's marketed. I don't know. I haven't learned much of anything. Sometimes you need them, sometimes you don't. Sometimes they want you, most of the time they don't.
Even though I studied in New York and I know the American system, I come from France where I learned that with movies in France where the director is king. There's no such thing as a studio edit. It's the director's cut, period.
As a director, my job is, and always has been, divided into a number of things: dealing with the crew, the money and the studio, and the marketing and publicity. These are all different jobs that have to be learned and done as well as possible. The celebrity part rarely touches a director.
In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.
I love the studio system. Love that studio system and all their money. They're great; I think they're fabulous . You know, what it is right now is I feel like I'm still learning as a filmmaker, I'm still starting out.
I think professionalism is important, and professionalism means you get paid.
I suppose where I am sort of reflects the work I have chosen to do. Are there occasional frustrations because I can't work with a certain director because it's a big studio movie, and I don't have enough of a studio profile? The answer is yes. But generall... generally, I have the career I have chosen myself.
There's a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.
One of the good things is the relationship between director and editor used to be more contentious. Studios used to leave directors alone more during the post production process and now they're clamoring to get in. So, the director and the editor end up teaming up sort of against the studio to fight what they're doing and you lose the creative tension that you used to have between an editor and a director.
My filing system's really crap because I can never decide whether to sort things by studio, or year, or where I lived.
I think a lot of the time, the studio system is so compelled to kowtow to its fear that women are not going to be found sympathetic. It just sort of euthanizes any hope of more diverse examples of the emotional realities of people. Representing my gender, I think, "Well, I have those emotions, why don't those ever get brought to the screen so I can feel recognized?"
The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.
Don't Look Down” is her official debut as Skylar Grey, the singer, born Holly Brook Hafermann and raised in Mazomanie, Wis., has been making albums since she was a tween. Grey and her mother sang as a folk duo under the name Generations; they released three indie discs. “I learned a lot about professionalism, how the show must go on even though I feel like [expletive] sometimes,” Grey remembers. “I have a lot of experience in the studio, performing onstage, talking to an audience. I learned most of that stuff when I was performing with my mom.
I think it's the director's prerogative, not the studio's, to go back and reinvent a movie.
I don't begrudge anyone else for anything, but to me, I think the fans deserve to have a studio put money behind their product because when the fans put money into a project and it makes any sort of money, it goes back to the studio. I think that's a little shady.
There is something mean in human nature that prefers to think evil, that gives a willing ear and a ready welcome to calumny, a sort of jealousy of goodness and greatness and things of good report.
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