A Quote by Peter Landesman
When a director is also a writer, everyone on the production looks to him, knowing he gave birth to the idea. There's a different level of viability.
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People have a different idea of how movies are made than they really are. On a certain level, everyone throws ideas into the hopper. It's not like the actors are wind-up dolls that you push out onto the floor, play with, then put back in the box. You get people around you who you trust; the writer, the producer, the director and all the actors all contribute.
Over time, years of meditation gave me glimpses of the interconnectedness and interdependence of all life. I experienced that on one level we are alone, separate, apart from everyone and everything; on another level, we are the Self in different disguises, different names and forms, a part of everyone and everything. This experience of interconnectedness is part of spiritual traditions and the perennial wisdom in virtually all religions and cultures.
Different people have different styles, but there is an opportunity as a director to be a writer in every moment, with every visual cue and every piece of production design. Everything is a decision, and everything can be obsessed over.
We do have American Idiot picked up by HBO and I wrote the record and concept to it. [We have] the writer Rolin Jones and [director] Michael Mayer [who also directed the Broadway production], so we'll see what happens.
The dream, I think, with any project is it starts with an idea, and then somebody writes it, and the writer hopes that a director comes on and makes this piece of material visual, and both the director and writer hope that they can have actors come in and bring something to it that neither one of them expected, elevating it along the way.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
I'm a very commonsense guy - I just look at the viability of the idea, if I feel the team has the ability to execute the idea. I also look at the investment syndicate, the size of the market, and then a lot of gut married on top of it.
Every director is different and they all have different styles. I've worked with directors who were very specific and they gave a lot of direction. The one thing about Michael [Haneke]that I think is interesting is that he really has a reason for everything he's asking you. If you challenge it, he is open for discussion but he has a clear idea of what he wants with reasons why.
As an actor you can always blame the director or writer for negative feedback. But as a writer, you're the reason why everyone's in the room.
The only episode which was completely my idea was for Mitch Pileggi, the actor who portrays Skinner, the Assistant Director of the FBI. He appears often in the series, but only for a few scenes. You know virtually nothing about him. I wanted him to have an episode that was his alone, so I wrote Avatar for him. He even has a scene that's pretty . . . hot [knowing smile]. He was very happy.
My grandmother gave birth to 13 children and I come from a long line of women who gave birth in their 40s.
I was thrilled that Sadiq Khan was so in support of the idea of culture being at the centre of a city and the idea that it is everyone's right. It can't be a matter of privilege or chance. It should be something everyone can have in their life, and that means knowing what it is.
I thought a director was like a pillow who sat under the writer, supporting them and submitting to their vision. It took me a long time to realise that what a writer really wants is a production that matches the play and the writing. It is the only way the play can achieve its full potential.
Everyone wants to be a dyke now; everyone craves our freedom, guts, and knowing looks.
I'm looking for films that can resonate and hopefully have some level of critical importance but also have commercial viability and can put butts in seats. At the end of the day, that is the name of the game. And if you can find that perfect balance, then that's the sweet spot.
I always write knowing that people will hear it, but also hoping they'll see it. So a lot of times I make lyrical decisions based on what looks better. Also I write based on what I saw for a video. I obsess over lyrics in the hopes that they'll endure in different ways. I'm very precious about it.
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