A Quote by Yo-Yo Ma
One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.
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I enjoy collaborating with all of the directors I have worked with. I love collaborating with creative people on interesting projects.
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.
You'd be surprised how many writers, or how many actors, if they miss a paycheck or two, they've got nothing. As a writer or an actor you can have four or five jobs in one year and then have none for two years.
It's not that writing staffs don't change at all, but they don't change very much. Directors are freelancers. There are directors who do five or 10 episodes of a show every year for years, but most directors are freelance, they come and go.
There's so much control, so many executive producers, so many people looking over their shoulder, so many people trying to second-guess the boss. The space for writers and directors and actors to be creative is zilch.
Pre-preproduction is the tenuous time before a project is greenlit; before the studio commits to spending real money. This is the most vulnerable period for any film because it's the time when your project is most likely to be put into turnaround. That's film-speak for killed off.
You don't project yourself in the Hall of Fame as a player. It's only during that five-year period where people start asking about it, and it doesn't seem real until it happens.
One of the most helpful things I introduced (and of very considerable consequence to Canadians) was my ultimate success in persuading my colleagues (after continuing battle)to reduce the qualifying age for aged pensioners from seventy to sixty-five over a five year period.
You're collaborating with people you don't even know, when you're making a film. You're collaborating with people you've never seen. So, the collaborative process is very, very different than when you're collaborating on a record with the musicians you've worked with all your life.
In theater, you sometimes can only do one or two jobs a year because they're long periods. In film, you can shoot so many. It's quite interesting.
I think television has become such an interesting place for characters and for incredible storytelling. Half of what I watch are television shows that I've become obsessed with. I just think that it's opened up so much, to be such an interesting and creative medium, and so many wonderful directors and actors are moving to television because it is a great medium for telling stories and for creating a character over a long period of time.
I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.
Still, records are documents of a period of time. Most records are documents of two or three years, and I just approached it as a record I was doing over a 20-year period of time.
I've seen it happen with other directors. Sometimes there's a period where, if they're lucky, they get the financing where they can make two films in a year.
What's interesting is, most of the people who are fans of the The Wire who black people or cops... most of the people in the industry are the crew: writers, actors and directors. And so they understand what it is that we do, so they think, "Wow, what a incredible group of amazing actors." It's funny, I think there are a couple of reasons why we have never gotten any nomination for anything except for writing.
I worked in 40 restaurants over a five-year period.
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