A Quote by Sally Kellerman
I had just had small parts in other films, and I'd worked with a lot of directors in TV.
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I had a really regular progression--and this is really pleasant, I think--because I had small parts in TV movies, then bigger parts in TV movies, and then small parts in films. And I think this allows you to get...experience of the set and to get familiar with [the process]. And as I had a really slow progression, I think it really helped me to stay lucid and not get carried away.
I began stealing a lot of ideas from other directors I had worked with.
I'm trying to work only with established, respected directors. I took a lot of bad scripts and worked for a lot of lazy directors, and it was discouraging to go to the screenings and see that the director had added nothing, the editor had added nothing, there was nothing to see.
When I was an undergraduate in Film & TV at NYU/Tisch School of the Arts, most of the projects I shot had male directors, and only a few had female directors.
I had already played a lead on Broadway before I ever did a film. I had had three, four seasons of stock with good, fat parts, good supporting and leading parts. And I had done, oh, God, over 400 live TV shows.
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.
The job is exactly the same, it just goes on for longer on TV. Most feature films are 35-40 shooting days. This has 10 parts, with different directors for each block. We shoot with two, sometimes three cameras.
I had worked in TV prior to working on 'Game of Thrones' - 'Game of Thrones' is far more cinematic than any other television show that I had done before, and so I feel that the worlds of TV and film are most definitely merging as one.
I've been working almost 20 years, and I think I've worked with maybe one black director of photography in that time. Maybe two women directors or DPs. Maybe. And I've done a lot of TV. That's a lot of people I've worked with.
I had a really small role (playing goddess Aphrodite), and I was only working for just over a week with Ralph Fiennes and Liam Neeson. I'd done a few short films before and thought acting was really creative, but when I worked with those guys, I was just like: "Wow!" They had such fun and freedom. They were trying things and stretching themselves. It was so inspiring that I was like: "I definitely want to do this!"
A lot of TV is put together by teams, by writing staffs and several different directors. It's a great, very smart way to make television. It's worked for however long TV's been around.
I felt I knew Lugosi. Like him, I had worked for good directors and terrible directors.
I wasn't a 'Battlestar' fan, but I had a lot of respect for the show. I had a lot of friends who worked on the show, and I had seen a few episodes. but I was more attracted to it from afar, from the respect and awards it had received to the loyal viewership that it had. That piqued my interest a lot when the opportunity for 'Caprica' arose.
I've chosen all my films very carefully. I know that I've had better parts in some films than in others. But the films I do are the ones I want to see when I read the screenplays. I guess you can basically say that I've just done things I loved when I read them.
We hung out a lot together. We went and saw films together. It was really actually quite easy. I think we were all very subconsciously connected in knowing that we needed to make it important, and therefore it just became important and it worked. Everybody had a lot of respect for each other. I think respect is the most important thing you can have.
I just happened to have enough time to be able to take other parts between those first few Twilight films. But it wasn't about proving to people that I had something else to give.
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