A Quote by Guillermo del Toro
When you start with Super 8, you are everything. You're the DP, the sound man, the effects guy. And what I started understanding, by working for other people, is that the best type of director is someone who rose through the ranks.
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When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
When I move from being a cameraman to being a director I looked at a lot of other cameramen who tried to make the move. And in each case they moved up their camera operator to be the DP, which really meant they didn't want to give up being the DP, and really wanted to do both. And my feeling was if I was going to succeed as a director, I had to just be a director and give up the safety net of being a cameraman.
When I was a young stunt guy the director would say: "You're useless..." But I wanted to be the best, I wanted to be a super stunt guy. That's how I built myself, because of martial arts and everything.
Once in a blue moon, everything will be right with the man in the sky, and when I start singing 'I Love a Rainy Night,' from out of nowhere, there will be lightning and thunder. I just say, 'Folks, we've got the best special effects guy in the world, so let's get wet together.'
I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.
I used to be the guy who wanted to do everything myself, wanted to write and play everything myself, but the older I've gotten, the more collaborations I've gotten. I really enjoy working with other people to create different styles of music, because I really do listen to everything, and I enjoy every kind of music. I think some of the best stuff comes from working with people who have different perspectives on the same thing.
I'm not the type of guy to go out and just say, 'Hey, I'm raising my fist to do this and do that.' I don't think I'm that type of guy. I wasn't a leader the way other people may have wanted me to be.
The wonderful thing about rock music is even if you hate the other person, sometimes you need him more, you know. In other words if he's the guy that made that sound, he's the guy that made that sound, and without that guy making that sound, you don't have a band, you know.
I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.
You might meet a guy who turns out to be the best guy you've worked with. They don't have to be some name brand person. I've met a lot of lower level actors and directors who were terrific; that are as good as any other A level director or actor, they just don't get the recognition. So I'm happy working with anybody who wants to show up to play the game and has a clue.
Denzel is the type of director that its more about working with him than working for him. He wants you to be thinking about everything.
Some people dig jazz, some people dig classical music, some people dig rock. Everyone is so concerned about who they like. They always say, 'This guy is the best,' 'No, this guy is the best.' But I think everyone is great. I really don't have barriers to any type of music. I could listen to everything from metal to classical music to anything else.
Ninety percent of our managers started in the hourly ranks or started in the lower ranks.
![J. W. "Bill" Marriott, Jr.](/assets/images/photos/avatars/j-w-"bill"-marriott-jr.webp)
I don't want to step on the DP's toes. That's the first lesson I learned when I started directing with other cinematographers.
I'm of a generation of director that came up understanding special effects.
My first CD started as a studio project and I record everything with one other guy, so I didn't have a band. That's kind of how I like to do it, though. I like to create it with one other person, this guy, Tommy English, who produces everything. And then I go out on the road with a band who interprets it live.
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