A Quote by Gabrielle Union
What's interesting is that producers, directors and writers tend to typecast me in terms of whatever movie they've seen me in most recently.
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Directors, writers, and actors are interested in making movies with me. Producers and movie studio people are not interested in me as they are in Kevin Costner or Tom Cruise. That's just the fact of the matter.
Roles came to me. I was very, very lucky in that respect. Great directors, great writers, great producers - they saw something in me that they wanted for their picture or their play or whatever it was, whether it was Edward Albee or whether it was - or Peter Hall, directors. They would come to me, thank God. I was lucky. Lucky, lucky, lucky.
In the early days, some producers and directors saw me in the musical 'Evita' and cast me in their movies. They heard me singing on stage also, but they couldn't translate that into a Hindi movie song.
Directing is the last frontier for women in the movie business. We are studio heads, we are producers and we are writers, but we are not directors in any numbers.
I feel lucky, and I have to thank my writers, directors, and producers for giving me great parts to play on screen.
I do have huge pressure in terms of making my animation, because a lot of audiences and producers are expecting me to make films with a lot of action. They all know that I'm very good at action scenes, but I tend to not use many, so they're all frustrated with me. But I do that intentionally. Yes, if I do a movie with a bunch of action, it's going to be a lot more successful than the types of movies I'm making right now. The producers often say, "Instead of using all these philosophical phrases, why don't you change this into an action scene?" But I intend to continue to make these movies.
To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.
I do whatever the directors and writers ask me to do.
I think mystery writers and thriller writers - whatever genre you want to call it - are taking on some of the biggest, most interesting kind of socioeconomic issues around in a really interesting, compelling way.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
I am a product of the Film and Television Institute of India, so I never categorised my roles, but yes I was typecast by the producers and the directors as a villain.
I'm pretty slapstick in my life but nobody sees that. You get typecast. I'm from New York and I have a sh*t-detector that's outspoken. I'm very streetwise and the producers detect that. So they get me on a movie and kill me. I go into their offices and I'm sure when I leave they say, 'You know, he'd be great to kill'. I've been killed every way you can imagine.
It's tougher for women than men in Hollywood, period, if you ask me. As with most professions, women have generally not found equality with men when it comes to income and influence. There aren't as many female directors, producers, and writers, which translates to fewer complex roles for women.
I do believe in us as actors and directors and writers and producers and also as movie-goers. We have much more power than we believe we have. Without our ticket, studios can't make traditional decisions.
I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.
I always say to people when I'm trying to get something going, bringing on other producers or other directors, "You can think of 95 reasons why not to make a movie. You've got to address why you want to make the movie and get it done. Just do it." I tend to live by that rule.
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