A Quote by Joseph Gatt
I wish that every director was as interested in doing as much in camera and with physical objects as much as possible as J.J. Abrams is.
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It is clear that everybody interested in science must be interested in world 3 objects. A physical scientist, to start with, may be interested mainly in world 1 objects--say crystals and X-rays. But very soon he must realize how much depends on our interpretation of the facts, that is, on our theories, and so on world 3 objects. Similarly, a historian of science, or a philosopher interested in science must be largely a student of world 3 objects.
When I first learned about Abrams and saw the types of books they were making, I knew I wanted my books to be published by them. Abrams books are special-when you hold one in your hands, you have the feeling that this book needed to be made. I once heard an artist say that books are fetish objects-I think Abrams gets that, because their books demand to be treasured. So who better to give comics art its proper due? I feel privileged to have found a home with Abrams.
A thought has no size in the physical sense but is vast as compared to the physical acts and objects into which it is later precipitated. The power of a thought is enormous and superior to all the successive physical acts, objects, and events that body forth its energy. A thought often endures for a time much greater than the whole life of the man who thought it.
I like doing as many special effects in camera, as much as possible.
If in all ideology men and their circumstances appear upside-down as in a camera obscura, this phenomenon arises just as much from their historical life-process as the inversion of objects on the retina does from the physical life-process.
I do not travel. I am not much of an extrovert, and I'm not much interested in extroverted objects. I do not care for the 'ideas' of novelists. Novels are wonderful, of course, but I prefer newspapers.
The camera course was a bit crap. But when I was in drama school, I wasn't interested. I wanted to be a stage actress. I was not interested in learning camera craft. But then you throw yourself in the deep end when you do get a job in front of the camera because you have absolutely no idea what you're doing, and it is a skill.
Even as an actor, much before I turned director or producer, I was somebody who was very involved with every film I was doing. I would pretty much be a part of a project from the time they toss the ball to the marketing. It's very simple.
A lot of the physical flirtation with fear I did early on in my career, when I was a much younger person - stuff I wouldn't do now. But I was very interested in the mechanics of risk and fear in those days. And I found out fear pretty much always feels the same, whether it's doing a rock climb or speaking in front of an audience.
I was not influenced by composers as much as by natural objects and physical phenomena.
I take bits and pieces from every director. I'd say Sylvain [White] and Nimrod [Antal]. They were more about teaching me lens sizes and depth of field and how to move the camera and lighting. I do want to direct and I didn't go to film school, so having a director that are very much hands on that way and looking to let me learn, that is a key factor.
I know well enough that very few people who are supposedly interested in writing are interested in writing well. They are interested in publishing something, and if possible in making a "killing." They are interested in being a writer not in writing. . . If this is what you are interested in, I am not going to be much use to you.
It's whether they have a vision and whether they're able to communicate it. The best director is just someone who gets over-excited about doing it - they don't even have to know much about camera or acting.
I try to offer as much as I can to the director so he has as much to work with as possible to create the character that, really, he wants to create in a sense.
I don't like directing that much to want a career as a director for hire. I like to have as much creative control as possible.
I was very new to working in front of the camera when I started shooting 'Gatsby', so I set myself the mission of gleaning as much information as possible out of the much more experienced actors. The cast was astoundingly talented.
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