A Quote by Jon Turteltaub
It's an ongoing process, in the script, on the set and in the editing room, to make sure you are being true to the emotion of the film without turning it into a melodrama, and making sure you're getting all the laughs you can without it turning into just some stupid comedy.
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Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.
I don't think we need to extend unemployment any further without paying for it, and without making some modifications such as turning it into a loan at some point. It then encourages people to go back to work.
At 23 it was all about acting. Today it's getting my kids to school, making sure that they've done their homework. I'm in my fifties, and I'm turning into a square.
All three parts of filmmaking [writing, shooting, editing] contribute to rhytm. You want the script to be a tight as possible, you want the acting to be as efficient as possible on the set, and you have enough coverage to manipulate the rhythm in the editing room, and then in the editing room you want to find the quickest possible version, even if it's a leisurely paced film. I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
The process of getting into Miranda mode is simply making sure I'm as gross as possible. I make sure I'm wearing funky clothes and a lot of lipstick, and I'm good to go.
Tragedy without comedy is melodrama, and comedy without a higher purpose is vacant.
We have to remember that it's usually women who are making the health care decisions for their families.... True equality would mean making sure that there's equity in terms of how insurance reimburses certain procedures; making sure that we have preventative care that's covered so women can get their mammograms and Pap screens without extra charges.
Because the filming process was so organic and there was no script, the film [Dream of Life] was literally telling us what it wanted to be in the editing room.
The film is made in the editing room. The shooting of the film is about shopping, almost. It's like going to get all the ingredients together, and you've got to make sure before you leave the store that you got all the ingredients. And then you take those ingredients and you can make a good cake - or not.
It's our job to make sure the players are ready to play at a high level. Part of that is making sure that the emotion is in check.
Normally my process is to sit in a room and read a script and talk about it and ask questions and just create a dialogue. That goes all the way through shooting. All kinds of thoughts and ideas can find their way in there. As long as you're all on - We're just all trying to tell the story so my job as a director is just to find out what this film wants to be based on, it's just words on a page at some point but then it just needs to go to some level of believable storytelling. I'm discovering the film as I make it, to some degree.
Cinematography was incredibly foreign to me, so I read as much as I could about it. Once I figured out that it was just photography with a set shutter speed, I got some slide film and I just went about storyboarding the script and taking snapshots. I took a ton of time doing it just to make sure I knew exactly what I was doing. By the end of it I knew what the film was going to look like - my exposure and the composition and everything. I wasn't scared of cinematography anymore.
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