Everybody that's on a set - from the director to the grips to the electricians - it's all about problem solving. So, as empowered as you can make everybody feel, that's really important.
When someone comes to you to talk about a problem, if you move the conversation on to a discussion of potential solutions, you fuel their creative problem solving abilities on average by 20% - not to mention you make them feel better! You make them smarter and more empowered to tackle challenges.
I do feel pressure from the outside world a little bit just because everybody wants new music, which is really nice. It just proves that everybody likes what I'm doing. But at the same time, I feel like it's important to just chill and experience things and really make the songs true to me.
I learned a lot from Clint [Eastwood], who's an extremely economic director. I learned a lot from Michael Winterbottom, who really gave a lot of trust in the actors and allowed them to live in the space instead of trying to manipulate and make it too set and too staged. Working with [Robert] De Niro taught me a lot of being an actors' director and what that is. I've learned a lot from pretty much everybody. Hopefully I've picked up something from everybody I've worked with.
A director on a film really sets the tone of how people go about things, so everybody is happy to be at work and everybody does their best.
You have to move really fast, as a director in television. If you're able to keep things moving on set, everybody has more fun, and when everybody has more fun, the end result is funnier.
It is well known that "problem avoidance" is an important part of problem solving. Instead of solving the problem you go upstream and alter the system so that the problem does not occur in the first place.
Everybody, every tradesman that worked for Shafin or built my house got fully paid, well paid. Everybody got paid. I would like that to be said if I could because I haven't said it before, and it's important. People kind of think we left all these plumbers or electricians without getting paid.
Everybody really don't rock with each other in Philly - that's a problem. 'Cause me being in Atlanta now, I stay in Atlanta, and I get to see everybody work with everybody no matter what.
I really wanted to make something that was exciting for everybody, that everybody could enjoy, that was upbeat and positive and that everybody can dance to.
It's really important for your team to be not just feel empowered but actually be empowered.
It all has to do with the director, the captain of the ship. He sets the pace, the mood. If the director is quiet, the set is quiet. If the director is loud, then everybody has to be louder to be heard.
Everybody hangs out with everybody, which is very strange for a cast this large and this young. We're all cool and down to earth and not caught up in this maniacal business at all... . Everybody really, really likes everybody else.
Everybody hangs out with everybody, which is very strange for a cast this large and this young. We're all cool and down to earth and not caught up in this maniacal business at all.... Everybody really, really likes everybody else.
Dividing everybody into genders and sexuality and races and religions, and I think it's important to have films out there, to have discussions out there which really try to get to grips with where that kind of thing can lead.
Dividing everybody into genders and sexuality and races and religions, and I think its important to have films out there, to have discussions out there which really try to get to grips with where that kind of thing can lead.
Communicate with the front office, communicate with the staff, communicate with the secretaries, everybody. And make everybody feel a part of something. That's important.