A Quote by Miriam Shor
As the director, it's just a constant stream of meetings where you meet with all of the creatives who make all of the decisions for every part of the episodes. You're also scouting for locations, deciding on the locations, meeting with your first associate director; mine was Jennifer Truelove. She's one of my favorite people on the planet.
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There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.
As a director and captain of the ship, there are many things that demand your attention - crew members, locations, budget etc.
'Chocolat' was a joy to make, as we were filming in beautiful locations in France and England. Lasse Hallstrom is such an amazing director - overall it was a wonderful experience.
There are so many beautiful locations in Rajasthan, so many beautiful locations in our India that have not been explored. Foreigners come and explore such places, but we fail to see those locations with that perspective.
My favorite part about costume designing is the artistry of the job. You meet with a director and a visionary to discuss ideas. You research the characters and figure out the components of their look through your own vision. You create a color palette for a film, television or stage medium and discuss it with the director of photography who then lights your colored subjects.
One of the first decisions I made, as the director of "Hide and Seek," was that our film would be silent and use underscoring of original music that I was planning on composing. The decision was mostly predicated on knowing how time consuming the editing of dialogue can be and given the various locations we shot in, I didn't want to worry about having to mix room tones in such a short amount of time.
I've never returned to the locations. I do remember certain days more clearly than others and certain locations with a sense of nostalgia. Perhaps one day, I'll bring my daughter to see them, if she's interested.
Some places, because of their spiritual history, are noted to be locations where people will often experience an open heaven. In fact, there are places where the heavens are open more than in other places. Most of you are familiar with previous moves of God in places such as Toronto (The Toronto Blessing), the meetings in Pensacola, and Argentina, just to name a few. Just like in Jacob's day, today, there are certain places where heaven is open, geographical locations where you are more likely to have an encounter with God.
I don't recall a show I've ever been on that had the same director do two episodes in a row, but in England, they do it all the time. In England, they'll just have one director for eight episodes. That was the British system that Jane Tranter and Julie Gardner wanted to bring to the States. I think there was a nice merger of the two systems. They might have gone with one director, but John had obligations on The Village, and he had to leave and come back, so it seemed like a natural place to break it up.
It's just that the nature of being a director is being incredibly overwhelmed with getting the shots right, dealing with the locations, and then there's a two-year-old in the scene, and all that stuff - you know, there's a lot of kids in scenes.
Behind The Curtain of the Night is a life after death movie and it is based on a best-selling novel in the Czech Republic. It is a true story, and together with director Dalibor Stach, producers Milan Friedrich and Phil Goldfine, we were able to bring such a meaningful, important, and powerful story onto the big screen. We were so blessed that we got to shoot in the best historical locations throughout the entire Czech Republic from Prague to Karlovy Vary and many other important locations.
Good buildings make and are made by their settings, and they are appropriately different in different locations. Climate, culture, topography and materials have helped create regional architectural languages that seem curiously right for their locations and for all times.
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 always felt that we don't have dearth of beautiful locations in our country, but we still don't have proper infrastructure. Because of that, most of the times, we are not able to reach those locations.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
'Strong Island' has been a labor of love and dedication on the part of so many people, that it's just an incredible recognition to be honored. And to be the first trans director - and, I believe, the first African-American trans director - to be nominated for an Academy Award is incredibly, incredibly special to me.
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