A Quote by William H. Macy
Ultimately, a more experienced director realizes that you've got to stop sometime and just move on. They're braver about that.
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I think I've learned a lot working with actors as experienced as Nicole Kidman and Daniel Craig. They taught me that whatever happens during a take, you should just carry on. Don't ever stop until the director tells you to stop.
I thought about how easily we are all brainwashed by our society and culture to stop thinking and just assume by default that more money equals more success and more happiness, when ultimately happiness is really just about enjoying life.
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.
I'm someone who's experienced impostor syndrome - as I think a lot of people have with their careers, especially when they pursue what they're passionate about, because they want to be good at it. I've experienced that as a gay man; I've experienced that as a cook, as a gallery director, as a student of psychology.
There is more emotion in a match in New Japan. The matches here in the U.S. are so fast that sometime they lack emotion. It is move, move, move.
The first thing you do as a producer is you try to understand the director's vision in as deeply a way as you can. Sometimes, you end up with a director that has more vision or sometime they have less vision. You hope that they have more. In the case where they have more, you need to understand it in the deepest way you can.
You've got to stop whipping a dead horse sometime.
Heroes may not be braver than anyone else. They're just braver five minutes longer.
Most women are damn fools and children. But they've got more range than we've got. The brave ones are braver, the good ones are better - and the vile ones are viler, for that matter.
Ultimately, a director is a storyteller. I wanted to fortify that part of my life as a director, so I thought the best way to do that is to study and learn about the greatest stories ever written.
Sometimes, directors are afraid to stop shooting, because the second you stop and say, "We got it," and move on, you'll never get another chance. And they're terrified to get in the cutting room and not be happy. So they just keep shooting.
That's really what ultimately matters - the emotions and feelings that you experienced and people around [whom] you experienced [them].
I got to work with Robert DeNiro once and it was a strange experience. Gwyneth Paltrow and I were doing Great Expectations movie together and we were complaining about what a mediocre film experience it was. DeNiro showed up on set and all of a sudden the director got better, the director of photography got better - everybody got more interested and excited. DeNiro isn't waiting for other people to create the environment that he wants, he brings it along with him.
I felt like that character in Flowers for Algernon. Not Charlie, the lady teacher from the college who realizes, 'I've got to stop dry-humping this mentally challenged guy!
Before I began The Cider House Rules, I thought I wanted to write about a father-son relationship that was closer, more conflicted, and ultimately more loving, than most. Then I began to think of a relationship between an old orphanage director and an unadoptable orphan - a kid who goes out into the world and fails and keeps coming back, so that the old guy ends up with someone he's got to keep.
How many more tragedies does it take before we do something? How many more children have to die before this country realizes that No Gun Zones create perfect locations for violence? You can not stop criminals and mad men with laws, you can only stop violence with the fear of armed victims.
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