A Quote by Joe Dante
I think I entered the market around the time when there was getting to be less snobbery about the difference between feature films and television. I think there's been a lot more receptivity on television to interesting adult stories that in the '60s and '70s would have been made into feature films. I have no problem jumping back and forth. If anything, I find it less restrictive working in television.
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My father did think I should get interested in television. But I had very little interest in television and it wasn't something I wanted to do. I really never thought about going to work on big feature films in Hollywood. But when we made The Householder, Columbia Pictures bought it. Who would have ever imagined?
We were talking about television one time, and Damon Lindelof said he felt that, if Ernst Hemingway was writing for media, he would write feature films, and Lev Tolstoy and Fedor Dostoyevsky would write television series because there are some stories you just can't tell in two hours.
I think the challenge in hour television or half-hour television is that the more it's around, certainly on commercial television, the less time you have to tell stories these days, because the more commercials they're putting in.
Often times people complain about the lack of time in television, but I have to say, you don't have any more time to film in feature films then you do in television. It's just a question of how many scenes you'll be doing in the course of a day.
Television is an excellent training ground for a director. If you work consistently in television, as I did, you have to come in on time and on budget. What you are allowed in feature films are, fortunately, more time and a larger budget.
As soon as I finished film school I was thinking about, how do I get to feature films? It took about eight years, and I'm still working. Feature films was not the end goal. Feature films was one of the stages. Getting to the point of the Coen brothers or Tarantino, where you're writing your own material and have the budget to do it properly, that's the end goal, and I'm close to that.
I do like working on independent films where it is a smaller budget and less pressure. The pace is also quicker than that of a big budget film. You are shooting at a fairly fast pace. Sitting around for three or four days can be quite draining. So I guess in terms of film or television, I would say filming an independent feature.
There was a time when I said, "I'm going to go do a television thing," after doing all these theatrical films, and heard, "Television? Why are you going to go back to television?" It's an interesting place.
I look at the feature films that come out, and by and large, 85 percent of them are things I wouldn't in a million years sit down and watch. The more interesting storytelling is happening on television by a long shot.
I've always been such a fan of short films - in fact, I never considered that I would actually make a feature. I just thought I wanted to make shorts for the rest of my life. They are a lot harder to have shown and a lot harder to find and see as an audience, but I don't know. It's just a form that I really love. I was just making them for the process, but ultimately, I did get them into festivals, and they did end up on television, and they had as much of a life as short films can.
I think television has become such an interesting place for characters and for incredible storytelling. Half of what I watch are television shows that I've become obsessed with. I just think that it's opened up so much, to be such an interesting and creative medium, and so many wonderful directors and actors are moving to television because it is a great medium for telling stories and for creating a character over a long period of time.
The process of doing films is not my favorite, but I love television. Television is a quicker turnaround. You shoot more during the day, which makes me feel more productive. It would be like, 'I did five scenes today and ten pages.' That's television.
The feature film has changed a lot. Art houses are gone and people show a certain type of cinema in the big theaters now that, you know, it's not quite really good for me, and if I made a feature film, I was think I'd play in LA and New York for a week, and then go right to television.
I think that television lately has been extremely dark and, in some ways, cynical but I also think that people who are writing those shows probably feel exactly as I do - that sometimes the darkness of a story can highlight the light in a story. There's a lot of cynical stuff but I think it may be even more in movies now where you see so many movies about cynical and corrupted characters. That's the state of many movies right now but movies, television, all of culture, there's always going to be a battle between the stories that are cynical and stories that are hopeful.
I'd love to have written a film and it to be regarded as good. I'd just like to be doing things that are good, really. I think that's all you can aim for. I find it odd when actors say they just want to do films or plays or television. A lot of films aren't very good; a lot of television isn't very good; a lot of plays aren't very good.
I am probably the only actor who came from television serials to films and was able to work in films this long. Of the 75-odd films I've done, in around 40 of them, I've been the hero.
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