A Quote by Michael Pitt
Writers, directors often can get too precious with their words.
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Sometimes writers or writer-directors can get nuts about words, but you know and I know that it's the thought process behind the words that motivates the words, that conveys real communication and meaning.
Part of the problem is that many directors treat female characters too often as precious. Or they want to live in a fantasy world where they just do spinning hook kicks and knock out guys who are six foot four, and that doesn't work either.
It's not very often that you get to come up with ideas and bring your take on the character and then actually have writers, producers, and directors pay attention to it.
Most writers write too much. I have the exact opposite problem. I feel I could write almost anything in a paragraph. I have a natural ability to condense, and so I often think, "Are you kidding me? Five thousand words? How am I gonna make 5,000 words out of that?"
All directors are control freaks and very obsessive. I get the feeling that directors as kids, they all have had a childhood with not too much contact with other kids. They constructed their own reality and they continue to do it. It's a funny breed, directors.
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.
It is often too easy to explain a novel idea to a few enlightened persons with a few words. But to enlighten about the same to many people, too many words are often required
Writers often torture themselves trying to get the words right. Sometimes you must lower your expectations and just finish it.
Words are often things also, and very precious, especially on the gravest occasions. Without "words," and the truth of things that is in them, what were we?
Writer-directors are a little bit more liberal, rather than having just the writer on the set, because I think sometimes the writer becomes too precious with the words. If you're a writer-director, you can see what you're doing and see your work in action, so I think you can correct it right there and still not compromise yourself.
The key is you don't want to control the controlled stuff too much and you don't want to be too free flowing in uncontrolled situations. That can be a contentious issue with some directors. The joy of my career is I've gotten to work with great directors who get that balance.
A lot of young writers are very precious about their words. Don't be - you've got to be ready to burn stuff. You're not as good as you think you are, at least not yet.
It's not often I get to do a film that turns out good. Plus, there just aren't that many great directors out there. There are a thousand different decisions that need to be made with each script and it's the good directors that can make those decisions. It's a long and complicated process in regards to what looks good on paper. Working on a bad film can be fun too. It can be a good exercise that gets you writing.
Too often, you see film makers from other countries who have made interesting, original films, and then they come here and get homogenized into being hack Hollywood directors. I don't want to fall into that.
I've got to be out doing a million things. That's how I find stories. That's how I get the relationships and get the projects that I get with the writers, the directors.
I see so many talented writers of color struggling to get their work out to an audience. I know that's the case for all writers - everyone's struggling for attention - but I do think that for writers of color it's harder, and for women it's harder, and for regional writers it's harder, too.
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