A Quote by Mark Duplass
I selfishly like a lot of first-time directors because they over-prepare, they're super eager, and there's very little ego.
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I love to take chances. I love first-time directors. I love super-low-budget movies. I've done 80-something movies, and I want to just keep experimenting. First-time directors have new, fresh ideas, and lot of times they're risking a lot to do it, so it means so much to them. They're not just hired; they have their heart on the line, because if you've gone that far, you're probably a very passionate person.
When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.
I don't have any problem working with first-time directors because all directors have to start somewhere and all great directors have had a first film. So, if you take the view that you don't want to work with a first-timer, you might miss out on a fantastic opportunity.
I remember the first joke that I made, which went over terribly. I was at my cousin's birthday party in Brooklyn. I was a little kid and she was a little older. They were going around introducing themselves; I was probably four, and I was very eager to impress all of these older New York kids. They went down the line and were like, "I'm Jake," "I'm Jane," "I'm Silvia," and I said, "I'm hungry," because I thought that was really going to bring the house down.
You need to have new people, young people that are super excited and super eager to get in there anytime we're doing something dangerous action-wise. It's pretty annoying but I get it, I understand the enthusiasm, I just give it a little time.
People wonder why first-time directors can make a brilliant picture, then suck on the second one. It's because they're a little terrified the first time. So they listen to all the experts around them.
I know that Madonna is not a first-time filmmaker, but I have worked with a lot of first time filmmakers and I have worked with a lot of inexperienced film directors so that never has particularly worried me - I find it quite exciting - but I have never worked with a director who has had so little experience of directing who was so prepared.
Melancholia for Freud is the relationship that the subject takes up with respect to itself from the position of what he calls conscience or what he later calls the super-ego. And that can be lacerated - if you think of the anorexic who sees themselves from the perspective of the image they have, of the image they have of themselves in the mirror which is false - that would be the super-ego. Super-ego is what generates depression and it is what has to be dealt with in psychoanalysis.
Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.
Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.'
I don't think I have advice for female directors as opposed to male directors. I think all first-time directors should try and be as prepared as they possibly can, because it's hard!
I love you, Dominique. As selfishly as the fact that I exist. As selfishly as my lungs breathe air. I breathe for my own necessity, for the fuel of my body, for my survival. I've given you, not my sacrifice or my pity, but my ego and my naked need. This is the only way I can want you to love me.
The thing I love about working with first-time directors is that it's always quite shocking how little difference there is between them and directors who've been directing all their lives.
I've talked to a lot of directors who direct solo like most directors. And they're always like, 'Oh, man I wish I had somebody I could direct with because it's a lot of work.'
I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
I am super-Italian, not even European - Italian. And this is very precise. It's like houses. Over time they stabilize themselves in the terrain. I am still at the first step of a long staircase.
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