A Quote by John Frankenheimer
There are so many effects and so many things that are done digitally now that it's so hard for the director to really control the process, because there are more and more experts that come in.
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Oftentimes when I'm deciding to do a movie, the main thing is really, that I look at, is the director. I've come to feel that more and more. The more movies I've done and the older I've - the more experience I have, I always knew it was a director's medium, and I always said that.
And it's very hard to do this stuff too because there are so many effects movies being done, so many companies busy doing this work and the public just wants to see it. Good work is being done all over the world.
As an actor, you have to give up all control to the director. He's the boss and has all the power. I'm a control freak, so that's really hard for me. Then when you see a film later, it can be infuriating, really disappointing. I've been very lucky, though, and so many of my early experiences were great.
I've found that the more experts you have on a movie, the less control the director has.
I'm mentally getting myself ready to talk about it all year long because I know it's going to come. My main focus is not to really concentrate on that... So many things have to line up, to be healthy and consistent for so many games, to get to that point. I know as we get closer we're going to talk about it more. But believe me, when it's done, if it gets done, it will be a huge achievement and I'm definitely going to soak it in. But at this time, it's not at the top of my mind.
There are many experts on how things have been done up to now. If you think something could use a little improvement, you are the expert.
It is one of the few elements in the process that a director really, really can't control: an actor's performance. If you have a director that understands that, it's comforting to an actor. You're starting the relationship more as a collaborator, rather than as an employee or some kind of a soldier trying to execute something you don't organically feel.
We have so many different options now and ways to communicate digitally. But I don't think anything is more meaningful or powerful than a hand-written letter.
But on this show, it's a good question because in the 35 shows that we've done now, I've really made a consistent effort to really shadow the directors because in many ways they have to be more prepared than feature directors.
Going back to when I was younger in this business, you did something that would be screened in various places and this sort of popularity never occurred to you. Now you do these things and there are so many more platforms, there's many more things being put out on a global basis.
In terms of - my relationship with so many, many young people. I would - I would guess that there are many young people who would come forward. Many more young people who would come forward and say that my methods and - and what I had done for them made a very positive impact on their life. And I didn't go around seeking out every young person for sexual needs that I've helped. There are many that I didn't have - I hardly had any contact with who I have helped in many, many ways.
Just because society has done things the same way for many years, that's no reason to continue doing them. Women will be the harbingers of retirement transformations going forward and will be more creative and humanistic in the process.
It caused more problems as a young kid, because the simple process of perceiving words on a piece of paper was hard for me. Many people think dyslexic people see things backwards. They don't see things backwards.
One of the good things is the relationship between director and editor used to be more contentious. Studios used to leave directors alone more during the post production process and now they're clamoring to get in. So, the director and the editor end up teaming up sort of against the studio to fight what they're doing and you lose the creative tension that you used to have between an editor and a director.
Everything is so much more stacked than it was even five or 10 years ago. There are so many more good players, so many solid players. The level doesn't really drop from around 100-500. It's really tough to make it, but I just have to work as hard as possible.
As soon as you start making a film that's expensive then the studio wants total control over all elements of it because they want to get all their money back. If you make a smaller film you can try a lot more things because you can have control over it and not just be a hired director. The lower the budget the more freedom you have.
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