I didn't watch a film after the 1960s. I have no idea who all were the good heroes, directors or producers in the '80s. The only film I watched after all those years was my own film.
The best compliment I ever got from the public or producers or directors is that I just totally blend in and become the character and they don't notice me and that the play happens or the movie happens or the TV show happens.
The best complement I ever got from the public or producers or directors is that I just totally blend in and become the character and they don't notice me and that the play happens or the movie happens or the TV show happens.
Because of 'The Birds' and 'Marnie' I was, as the expression goes, hot in Hollywood and producers and directors wanted to hire me.
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
When I was a Hollywood press agent, I learned how the Hollywood casting system worked. There was a roster of actors who were always perfect as doctors or lawyers or laborers, and the directors just picked the types they needed and stuffed them into film after film. I do the same [with
my characters], book after book.
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.
Here, we have female directors and producers; in fact, one whole channel is run by a woman. Pakistani TV is progressive, and hence, characters that are shown are of today as well.
I had to endure the worst time of all in terms of racial discrimination in Hollywood when I first started out. It was inconcievable to American directors and producers that a Mexican woman could have a lead role.
I worked in feature film casting right out of college and spent a lot of time working with actors, directors, and producers.
I am a product of the Film and Television Institute of India, so I never categorised my roles, but yes I was typecast by the producers and the directors as a villain.
The people who've done well within the [Hollywood] system are the people whose instincts, whose desires [are in natural alignement with those of the producers] - who want to make the kind of movies that producers want to produce. People who don't succeed - people who've had long, bad times; like [Jean] Renoir, for example, who I think was the best director, ever - are the people who didn't want to make the kind of pictures that producers want to make. Producers didn't want to make a Renoir picture, even if it was a success.
Big producers trust the music directors. Small directors are insecure but like to experiment.
With the film, you have a bunch of executive producers, directors, writers, scripts. There's, management, lighting, the union and etc. There are so many components a part of that game, so naturally it isn't my world.
I understand the formula that producers hire directors and directors are hired to direct and actors are hired to act. I don't have any conflict with any directors because I know they're the boss.
The popular image that Hollywood is ruined by difficult prima donna actors is nonsense. They're certainly very nice to directors. I can't say the same about producers, who I found difficult, paranoid, and certifiably insane, mostly.