A Quote by Lexi Alexander
When I first made 'Green Street' and I was considered a hot director, I pitched everybody, but there was always this feeling that I was being underestimated in the room. I pitch TV, and nobody underestimates me. They literally think you could be the next whoever, and that is a very cool thing.
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I think that's one of the things you start learning from being hot and playing every day at the beginning, you know. The league, they made their adjustments and their change to you, the way they pitch you, the way they attack you, and just learning and learning from that and making the adjustments the very next at bat or the very next pitch.
And I would say that the main thing that I faced as a female in this industry was being underestimated. But being underestimated isn't always a bad thing. It's nice to get out there and blow people's minds when they think you're not gonna be any good.
I don't know who can really relate to being cool. Even people who you think are cool, they are trying to be cool. Nobody can understand the feeling of being cool, really.
I think it's so cool to be tall. Even when I'm not wearing heels people tell me I'm tall and I always take it as a complement. The good thing is I can always see everybody in the room.
John Lewis is such a remarkable human being. Literally, such a beautiful human being. I remember the first time I met him. We were in the middle of a scene and [Selma director] Ava DuVernay calls, "Cut," and then he literally just came in. He just came walking in.I just froze. I can't explain the feeling. Seeing somebody who was literally a living hero. He was a hero.
The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.
When my first play was produced, I had this sudden feeling that I feel powerful. Like, the next time I go into an audition room, and it's me and the same eight girls as always, I will have this thing that no one can take away from me. They can see us all as interchangeable. But I am not interchangeable.
I think I wrote the first draft of 'Nightmare on Elm Street' in '79. No one wanted to buy it. Nobody. I felt very strongly about it, so I stayed with it and kept paying my assistant and everything. At a certain point, I was literally flat broke.
I was a teenager in the '80s, and I was always a bit dismissive of Houston, as I think a lot of people who considered themselves 'cool music fans' were. She was poppy, bubble gum, making music not considered very cool. But you can't help but dance to some of those songs or feel emotionally affected by 'I Will Always Love You.'
When you walk onto the pitch at Old Trafford, it is not just a pitch, it is a stage. If my father could see me on that stage, I think he would be very proud. I was always kind of chasing him, and I think even though he's not here, he helped me to get to this place.
Professor Trelawney: "Everything went pitch-black and the next thing I knew I was being hurled headfirst out of the room!" Harry Potter: "And you didn’t see that coming?" Professor Trelawney: "No, as I say it was pitch — ” [Glares at Harry angrily]
To go from not being recognised at all to literally, the next day, having people stop you in the street was very, very weird. I had to buy myself a great baseball cap.
I don't care what the situation was, how high the stakes were - the bases could be loaded and the pennant riding on every pitch, it never bothered Whitey. He pitched his game. Cool. Craft. Nerves of steel.
Looking back, the most challenging thing for me was actually directing. It's very tough. Being in front of the camera is easy since the director can tell me what to do. But being the director and giving people directions is the toughest thing for me.
Usually in TV... A TV director could be anything from a main grip to just a glorified cameraman, and sometimes a director can be the person who is hired last. It's very much a producer's medium.
It's a strange feeling, being so utterly surrounded by her. Her life scent is on everything. She's on me and under me and next to me. It's as if the entire room is made out of her.
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