A Quote by John Frankenheimer
So I've had really great assistant directors for my last seven movies.
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Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
I have a suspicion, because if you look at the whole, all the [Star Wars ] movies, the backlog of every one of these movies, there's a lot of great stuff, but one might not be not as good with the writing in this or the acting in that or the directing in that, this has great actors, great directors, great script, and I really feel like we're gonna make the best one [movie with Young Han Solo].
When I came to Mumbai, I was working behind the scenes for 10 long years. Back then, music video budgets were insignificant and I had no assistant directors or art directors for most of the songs I directed.
I went to the opening of 'Sister Act,' and I had such a great time. I had no idea what it was about, and I had never seen the movies. But I heard the show went through some major last-minute craziness in previews, and man, opening night was really fun and really entertaining.
I don't think the written word is important in movies anymore and the really great movies are done by great directors who in many cases write their own scripts. I think it's gotten to be more of a visual thing than an audible thing.
That really sets great directors apart from good directors: their ability to make you feel like you matter, even if your part is much smaller. That's one thing I found with most of the great directors I worked with: They all have that skill. Not everyone takes the time.
I've really enjoyed the independent film world. I've had a blast. But, the reality is that I really want to make bigger movies. If I could make movies that carry great characters and great performances and great pathos, and can have an explosion or two, that would be fine with me.
I really enjoy the process of making movies. The only thing that really concerns me is working with great directors and actors, and that is fun and exciting.
Nowadays, there are seven music directors in one film. I had never heard of such a thing before. If one of our old music directors was told to share a score with others, he would have left the assignment.
Most of the directors that I show my movies before the final cut, are directors that I admire, and who do movies that are very different from mine.
I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
I think that what 'Oz' did is it spawned a great generation of television production. But people know its place in television and just in great dramas. It's the foundation of my career. Most producers, show runners, directors, and casting directors put me in movies based on my performance in that show.
I've been an assistant for seven years now and I haven't had one head coaching interview. I'm doing something wrong.
You can make five massive hits in a row and still not get cast by the directors you want to work with, doing little movies. There are no guarantees. I'm trying to sign up and do movies that I'll be proud of, if it's my last one. That's how I think about it.
I remember when I was in college, my junior year NWSL was not a thing and my senior year, it started up and I had a place to play now. It's really great that it's been able to be stable for these last seven years and we can always continue to push for more growth.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
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