A Quote by Marielle Heller
Scott Frank and I are director friends. We met through the Sundance Labs and he's advised me on my first projects - I've visited him on set, we've shared first cuts with each other, and we're more like director pals than anything else.
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I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.
Establishing mood through pictorial means is the director Ridley Scott's most notable talent. There may be no working director more accomplished at wringing texture out of the color blue than the prodigious and now prolific Mr. Scott; you'd swear that with his dazzling washes of blues and sand tones, he was inventing additional hues on the spot.
So many features at Sundance seemed to be powered more on the director's need to be a director than any particular story.
I went to Sundance Labs, and I definitely watched my male peers from there have very different meetings than I was having, very different outcomes. You could tell there was a feeling that a young male director had this exciting potential and a young female director was risky.
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."
The first time I ever intersected with the quote unquote industry or Hollywood or being given a paid job as a director all came because of the reputation I got coming out of Sundance as a veteran Sundance filmmaker.
It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
I met Woz when I was 13, at a friend's garage. He was about 18. He was, like, the first person I met who knew more electronics than I did at that point. We became good friends, because we shared an interest in computer and we had a sense of humor. We pulled all kinds of pranks together.
I met Woz when I was 13, at a friend's garage. He was about 18. He was, like, the first person I met who knew more electronics than I did at that point. We became good friends, because we shared an interest in computers and we had a sense of humor. We pulled all kinds of pranks together.
An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.
I learn a lot as a director from acting in other people's films and just in general. I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer. Basically, I like to help and be involved, so anything anybody asks me to do, my first reaction is to say "Yes."
I'm a huge fan of director's cuts or reassemblies if they're good, but I remember being really excited about the restored version of Apocalypse Now, and then I preferred the original film. Kingdom of Heaven as a director's cut is the real picture, but in fact someone recently told me that there was another cut, the original first cut, which he said was just extraordinary. I've never seen it - and of course now I want to, if it exists, and so would everybody else.
As first time director, though, you're like a new officer coming up to be in charge of very serious veterans, and you're always going to have guys looking at each other for the first day until they realize you're not screwing around.
I remember in the Carpenter version, you got acquainted with the characters and really knew them. It was a real character piece. Each actor was serviced in the movie, and we tried to do that in this movie as well. I like the fact that there was a European, first-time director. I'd known of him because I'm from Europe. I knew him as a commercial director and thought one of his commercials was great. I thought it was an interesting take on such a big-budget cult classic.
Rahman sir was the first music director I met and I was very nervous after meeting him. I made him listen to some of my songs nervously and he told me that my tone is good but I required working on the maturity of my voice with respect to my age. That was the golden advice I got from him.
First, you have to be intelligent. I have never met a successful director who isn't intelligent. A director who is not intelligent might have one hit picture, but he won't be able to follow it up. So I look for intelligence.
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