A Quote by Jeremy Piven
I wrote a script and I've been whispering in director's ears for a really long time and I'd love to direct.
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I'd love to direct, and I think I'd be a great director, but... I've been approved by the studio to direct, which I think is a cool jump of faith for them. Or proof that they're really stupid. But I don't think so.
I didn't want to be a director for hire. It really just took me a long time to learn how to direct and to feel up to the job.
If I love the script and have a good rapport with the director, then first-time director can also be very special.
Sometimes you get the luxury of having a script for a really long time, and you can get to talk with the director or the producers, and evolve with the role.
Yeah, well I can't see a situation where I wouldn't at least re-write as a director something I was going to direct. At the moment, I wouldn't direct anything that I hadn't written. I can now say, as everybody else says, that it all depends on the script.
I had been at the director's workshop for women at the AFI, which at the time was a great thing to do. I had always meant to direct, and for a variety of reasons that are hard to explain, I never did. I produced many things - there'll be people who tell you I directed through them - and of course I wrote. It took a divorce, a move back to New York and a kind of "now I can do anything" to say, "I really want to do this."
You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.
I love improv. 'Crazy, Stupid, Love,' the script was really great, but the directors were open to letting you try different things. And that felt like a muscle I hadn't exercised in a really long time.
I've never been a puppeteer, I conceive and I write and I design and I direct. And not just puppets. I direct actors, I direct dancers, I direct singers, I direct films. I also direct puppeteers. I'm really a theatre maker, but there's not a word for that.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
I read that John Hughes script for 'Mr. Mom,' and I thought, 'This guy is a funny writer.' I went: 'You ought to stick around and direct this thing.' But he didn't; he left, and look what he became. A really legendary comedy director.
In some instances, I would say the writer does deserve equal billing with the director. In other instances the director - especially if he wrote part of the script himself - is clearly more the author of the movie.
Skepticism is forever whispering in your ears. You're very new at this. You may be mistaken. You've been wrong before.
I've been doing this career for a really long time, but there was not a lot of reason, at the time when I wrote 'Fight Song,' to believe that I should keep going.
The shift for me, after spending a long time trying to take existing projects and bring them to fruition as a director for hire, is going back to where I started as a self-generating director. After trying and failing to get so many things made, I have decided that you've just got to do something you really, really love.
I was a pen pal with one guy, a long time ago. I think we only wrote to each other twice. We didn't really keep it up that long. But, I love it. I think it's really sweet and very creative and freeing, when you get to put a pen to paper, 'cause you don't really do it that much these days, with all this technology.
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