A Quote by Kenneth Branagh
The director needs to be in command on set because everything crumbles if that's not the case.
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I think the grandfather of the set is the director. He needs to have authority, to do what people want. A warm grandfather; he needs to know his job, to be open.
Everything feels so personal when you're an actor because you're so open and vulnerable, and you have to trust your director to guide you to where the storytelling needs to go.
The main thing the composer needs to do is it needs to remember that the director is there to cheer you on. The director wants you to succeed because if you succeed, you'll be helping the film. And they are truly your conscience. And they're truly your guide.
'Bum's Rush' is a piece about timing, and everything that's in the piece needs to be with the piece. If people are missing, or marking, or unable to use their voices, the impulses that prompt the action are lost, and its logic crumbles.
When you're on set, you're like, 'Everyone's judging me because I'm the director, and everyone thinks I'm doing this because I just love myself and I want to do everything.' Part of it's true: I do want to do everything, and I do kind of love myself.
The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.
It has to come out of the chain of command, because the chain of command has really become impotent. The chain of command is vested in protecting itself, and so often, the perpetrator of the assault is in the chain of command.
'Control' had to do with my own life a lot, and that's why that seemed to be a film I could be the director of, because I had an emotional attachment to the whole story. And because of that experience, I feel that I can try other films. I didn't set out to become a director.
I kind of joke with myself that you shouldn't be able to be a creative producer if you weren't a first AD. Because it is such fantastic training for really understanding what everyone does, and how the movie actually gets made. You have to know if you're the first you're kind of the set general, you're at the director's right hand, you know everything about how a director puts a movie together, you know everything about how a movie gets made.
I'm very shy. But as a director and especially a female director, absolutely: How I used to walk on the court is how I walk on set. And I have to - I mean, I'm controlling 150, 200 people, and everything is on me.
I guess whatever the director's energy is is kind of contagious on set, because, um, you know, it's a hierarchy, and we're all kind of looking to the director for guidance.
The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."
Set up another case bartender! The best thing for a case of nerves is a case of Scotch.
A semantic definition of a particular set of command types, then, is a rule for constructing, for any command of one of these types, a verification condition on the antecedents and consequents.
Technically, you can learn everything on the set as an assistant director, and rather quickly.
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.
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