A Quote by Gary Sherman
The gruesomeness of 'Death Line' was an absolute necessity for me to bring up the political content of the film. I wanted to show how devastating class distinction could be.
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Comedy Central wanted to do a show with me, I had a couple failures under my belt with them already, but they still wanted to try something else. They came to me and said they wanted to do something that was internet focused and created original content on their site, so they could compete with the funny or dies and what not. So that was the premise, and they gave us a small amount of money, $5000, and from there it turned into the show.
In film, life-and-death struggles make you sit up, lean forward a little bit. They amplify things happening, in smaller ways, in all of us. These things show up in relationships. They show up in struggles and bring them to a critical point.
Marvin Bell always looked very closely at how lines could break, how you could put over one line into the second line. How you could stop the line two or three times within the line: You could make it stop.
Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.
I knew I wanted to be in comedy but the path of least resistance was doing stand-up in folk music clubs where I could get on stage. I guess you could get up no matter how bad you were and you didn't have to audition. You just got up. Everything else required an audition and if you auditioned for a TV show, you would stand in line with a hundred other people. But at the clubs, it was okay just to get up, so that's why I started in stand-up.
When I started this profession, I wanted to make films that entertain but that have content. When I went to film school, they made me believe that the two could not mix.
Let me show you how to drive me crazy,Let me show you how to make me feel so good,Let me show you how to take me to the edge of the stars and back again.You've gotta show me how to drive you crazy,You've gotta show me all the things you wanna happen to you,We've gotta tell each other everything, we always wanted someone to do.
I was such a mama's boy that no one imagined that I could come into the film line. She wanted me to do a bank job.
From film to film, even documentaries, I was learning the medium and learning how to bring form into some kind of relationship with the content, how to work it, and above all, how to create some kind of order out of chaos.
I felt that there could be some anger. There could be some frustration that he has the tendency to take over the room, but I wanted all of those things to show in the grays of her hair and the fact that her hips are much wider than they probably were when she met him. I wanted it to show in the fact that her hair is not done up all the time. I wanted it to be a part of that every day that wasn't in your face. Because then for me, that's overacting. To me, that's not "being." I wanted Rose [in "Fences"] to be many things.
I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.
The whole idea of 'Death Line' was to kind of highlight class distinctions in England more than to make a scary movie, and I just kind of wrapped my political treatise of the class distinctions in England in this movie.
I was a trial lawyer. At the same time, I was a teacher. I taught about the political and social content of film for American University. Then I left and became a teacher at the University of California at Santa Cruz. I taught about the political and social content of film, but I also taught a course in law for undergraduates.
I'm a film guy. I love it. When I read the screenplay, I knew that there would be no HD camera that could achieve the look that I wanted for this film. I wanted it to be dirty, and 16mm provides all of that with the look and the grain. That's what I worked for, and that's what I wanted, and that's how I'd seen the movie in my mind.
We shook up the industry with our landscape-changing deal to acquire Time Warner, the logical next step in our strategy to bring together world-class content with best-in-class distribution which will drive innovation and more choice for consumers.
I would never go back to doing the show again. I mean, every day I think about Lifestyles because somebody comes up to me and tells me how much they love the show and I should bring it back, but this is not the time to bring it back. I don't think it would be as successful today as it once was.
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