It's hard for new directors to find good tracks because we don't usually get to choose good music by good artists. I honestly think music videos will slowly die out. There will always be a few directors who do cool things. But look how many great videos there were in the '90s, and then look at the 2000s. It's depressing.
I've read a hundred fantastic scripts that didn't pan out as films, and I completely put that on the directors. I've also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They're the storytellers. If you don't have a good storyteller, you really have nothing.
I have no qualms approaching directors who I know will help me grow as an actor.
I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.
Yes, I will probably concentrate on solo roles, but I would not say no to multi-starrers if they come from good directors and with a good script. I would allow myself the freedom to do it.
I had many, many mentors that I worked with. Music teachers, choir directors, directors in summer stock or in regional theater. You know, people I was able to work with repeatedly and learn from who were really sort of appropriate people for me to work with at a given time in my development as an actor.
One day, my mum bought me this music production software for my computer, and I started making beats... I realised it was more like production than a video game, but it was a video game when I was playing it. That's how I got into music production.
Facts are, directors are not thinking of me; they think I only act in my films, because they're stupid. Or they think I'm a control freak, that I will try to, I don't know, pimp their scripts and just change everything, which I will never do.
Everything is temporary. I don't know how long will I have my time here in the industry. I want to concentrate in making good music. That will be my biggest satisfaction.
The test for me, when I read other people's scripts, is whether I feel like there's something about me that is the best person to tell this story. I have a pretty high bar for myself. There's a lot of scripts that I read and think, "Oh, this is great, but I think there are 50 other directors who could bring this to the cinema."
Certainly, you envy the guys that have done all kinds of things, a variety of good scripts and good directors. Then again, having worked with Cassavetes has satisfied a big part of that.
So many people have gone to music production schools for years and years, and they've wanted this their whole entire life, and part of me feels like I've kind of cheated that a bit because I'm not grade A on piano, and I don't know a lot about production. But I do what I do.
I've auctioned off many scripts and will continue to do so for good causes.
I will say that is a quality I love about great directors, which is the ability to give you one word that can inspire you. I appreciate a director with a very good vocabulary. There are so many directors that I have worked with that can give you one word.
Like any other actor, I want to work with good directors, and I always look for good scripts. I've had to say no to some people; I suspect that's the reason I'm called arrogant.
I get so many scripts a day but none of them inspires me. If I get a good inspiring script, then I will be most happy to make it into a film.