A Quote by Miguel Ferrer
I think I was never home when I was directing, because you're either prepping, shooting, or editing, and then acting at the same time. It's really time-consuming, but it was great fun.
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Literally, people probably came up with a budget and said, 'It'll be cheaper if we cut down the prep,' but it's not cheaper, because then you're shooting, you're fumbling through the movie and you are prepping at three times the cost because you're quadruple-time as you're shooting and then prepping after you're done shooting.
I started working on how I would direct this a year before we started shooting "All We Had" and I was prepping, acting, and directing sort of at the same time. I knew that I didn't want to hold people up on set.
I think I'm most excited about traveling and shooting and spending time in L.A. I have a great talent agency there and, you know, working with my acting coach and really putting in the time and effort to transition into the acting.
All three parts of filmmaking [writing, shooting, editing] contribute to rhytm. You want the script to be a tight as possible, you want the acting to be as efficient as possible on the set, and you have enough coverage to manipulate the rhythm in the editing room, and then in the editing room you want to find the quickest possible version, even if it's a leisurely paced film. I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
You must stop editing--or you'll never finish anything. Begin with a time-management decision that indicates when the editing is to be finished: the deadline from which you construct your revisionary agenda. Ask yourself, 'How much editing time is this project worth?' Then allow yourself that time. If it's a 1,000-word newspaper article, it's worth editing for an hour or two. Allow yourself no more. Do all the editing you want, but decide that the article will go out at the end of the allotted time, in the form it then possesses.
If you're directing and acting, I feel like they both suffer, to some extent. There are so many elements to it. If you do acting and directing, at the same time, it's not going to be as good, I believe, as if you focus on one or the other.
If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.
You know, at this point, my focus still is acting, but I think at some point in time, I definitely want to do some directing, I'm just not sure when. But it's not on my plate big-time right now, just because I'm busy, and I'm having such a great time.
Well, Toronto, I consider to be the birthplace of my films. I've made three films and this is the third one to premiere here in the same theater on the same day at the same time - they are my audience. They're the people that I think about while I'm writing, directing, and editing. I specifically make movies for them.
Writing is so... I don't know, it's such a practice, and I feel very unpracticed in it, because I'm not doing it every day. And I really need to do it every day. In other words, you spend all this time writing a movie, and then you stop, and then you're shooting the movie, and then you're cutting, and a year and a half goes by, because in the editing room, you're not writing.
It's never really fun to have to cry in a scene, or anything like that. I just try to put myself in the characters position, and that helps. It's never really fun, but at the same time, if you're having a really bad day, it's a great way to get out all of your frustration by doing a really angry or sad scene. That's always a good release.
I think the biggest advice I would give to any actor who's directing and also acting at the same time is don't even watch your coverage. You do a scene, and then, you know what you did; it doesn't matter what you look like.
I think the key to directing a great music video is in making sure the song is great, and if it is, then it becomes really fun.
Time is clearly not our natural dimension. Thus it is that we are never really at home in time. Alternately, we find ourselves wishing to hasten the passage of time or to hold back the dawn. We can do neither, of course, but whereas the fish is at home in water, we are clearly not at home in time--because we belong to eternity.
I never really think of acting and directing as being separate; they are just different expressions of the same thing.
You are thinking about the music, about the mathematics of it. It's time-consuming and energy-consuming at the same time. That's why I take my time off, my family time, as inspirational. I cool off.
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