A Quote by Jeremy Irons
It's always nice working with friends. And if you have a director that you've worked with before, you don't have to go through that first learning thing. There's an element of trust there.
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You know, when you've worked with somebody before and you've worked very deeply and dangerously then you start with the relaxation and the trust right away and that lets you go even deeper, which is a lovely thing.
I've had friends who have come away who've said, "I shouldn't have become such close friends with the director." You always want to get on with the director, but I personally prefer a relationship where you respect them - you get on really well with them, but they're boss, as it were. It's about trusting your director, for better or for worse. They're the one's seeing what's coming out on the monitors, so you have to try and trust what they say.
I have hardly ever worked with the same director twice. But when you have worked with a director before, you understand his behavior.
I guess confidence is the only thing that I take from project to project, but I'm always open to learning everybody's style - the director, the actor I'm working with.
Scott Frank and I are director friends. We met through the Sundance Labs and he's advised me on my first projects - I've visited him on set, we've shared first cuts with each other, and we're more like director pals than anything else.
When you trust the director you want to trust his or her choices. I don't want to say, 'No, I don't like this girl or that guy," when the director really loves them. No, you want to go with what the director likes.
David Fincher is a longtime friend. As a director, my wife had worked with him as a makeup artist when he would do Madonna videos years before, and his child and my oldest child were in preschool together, so we're kind of dad-friends through that, too.
I always chose talkative people. And Viva, who was my first wife - we started making films together because she was extraordinarily creative. I was drawn to those people who tended to talk or act differently. The nice thing about using your friends as actors is they trust you. I wouldn't use footage of people that was destructive to them.
One thing that I have learnt from many senior actors is that you can never take anything for granted. Whether one is working with the best director or a first-time director, every experience teaches you a lot.
My first signing was at my hometown independent bookstore and everyone in the world came. It was so nice. My family was there, my parents, everybody I worked with, all my friends. So I had this great first reading with a like hundred people there.
It's so nice when you go on to a job and you've worked with someone before.
I'm working on a few different films and I'm just searching for the right new story to tell. As a director, you just have to kind of like just get through the first project before starting on the next one.
The biggest challenges are always getting into the rooms that you need to get into and having people open to the types of stories that I want to tell. And I feel that just being a female director and doing that is a big deal in this country. On my third movie I worked with a French DP. I asked him has he ever worked with a woman director before? He said in France a third of directors are women; so you can’t avoid them. So I realized that the US is behind.
I worked with Tyler before on 'Daddy's Little Girls'. He couldn't be smarter or more laid back and cool. He's always throwing out lines and is funny as hell. And he was shining his light on 'Peeples', too, lending his name to showcase Tina as a first-time director, and me as a first-time lead.
I have always been a director first and the whole acting thing just happened because none of my friends wanted to be in my videos, so I had to do it myself and wear a bunch of wigs.
Radio, or at least the kind of radio we're proposing to do, can cut through that. It can reach people who would otherwise never hear your work, and of course I find that very notion inspiring. Radio stories are powerful because the human voice is powerful. It has been and will continue to be the most basic element of storytelling. As a novelist (and I should note that working my novel is the first thing I do in the morning and the very last thing I do before I sleep), shifting into this new medium is entirely logical. It's still narrative, only with different tools.
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