A Quote by Jovan Adepo
I think, so often, people go quick to that nepotism: 'I should be OK; my cousin's a producer. I can get into the movie.' How about audition, earn the part, and feel confident in knowing that the director felt you were the right person for the job versus hiring you because you know somebody?
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I think people really don't understand what a producer does versus what a director does. I mean, the producer is often the person that is on the movie the longest - it's their material that they are then bringing the director onto to bring it to the screen. Are we overlooked? Absolutely.
Some people work very closely with a director or a producer on something, and from the get go, they're collaborating. But typically, it's just go in for an audition, do the best you can, and if the phone rings a couple of days after the audition and you get the part, that's great.
I kind of joke with myself that you shouldn't be able to be a creative producer if you weren't a first AD. Because it is such fantastic training for really understanding what everyone does, and how the movie actually gets made. You have to know if you're the first you're kind of the set general, you're at the director's right hand, you know everything about how a director puts a movie together, you know everything about how a movie gets made.
I treasure the fact there's media freedom, but with that goes responsibility. I think that there should be a self-regulatory organization and that they should start to think about standards. Because I think a lot of people say, "I don't know how to read what is true versus somebody else's interpretation."
No job in America should go unfilled because somebody doesn't have the right skills to get that job, nobody. So, if there's a job open, we should train those folks right away so that they can do the job.
There have been times when I've been asked to do things and I've thought, "This is great! This is a great script. But, I do not believe myself in this role." I pretend I'm the producer and I think, "If I was making this movie, would I cast myself in this part?," and if that doesn't feel right to me, then I don't even go audition for it.
There have been times when I've been asked to do things and I've thought, 'This is great! This is a great script. But, I do not believe myself in this role.' I pretend I'm the producer and I think, 'If I was making this movie, would I cast myself in this part,' and if that doesn't feel right to me, then I don't even go audition for it.
My teachers believe that the creative producer's job is to service the vision of the director, to stay within schedule and budget, and to get the studio what they need, but you work for the director to get their vision on the screen. That's not how everyone approaches producing, but it is certainly how directors like you to approach producing. How I was brought up is that my job is to help you make the movie you want to make.
We need prizes as publishers... to focus attention on books, for people to know what to go look for. But often in my opinion and in probably everyone's opinion, the right books don't get chosen. Still we need books to be chosen even if they are not exactly the right ones, otherwise many people won't know what to read. As a publisher, I feel prizes are important for the publishing business. But as a writer, I think, writers shouldn't get too distracted by prizes because very often they don't go to the right person. You shouldn't take it too seriously if you haven't won a prize.
I think I'm an extremely conscientious producer and now equally as a director and it gives me the opportunity to look at the entire movie and really allow the movie to be the creative vision of the actors, the writer and myself, because I'm in charge of it from a producer and a director point of view.
Being a director it's mean - digging deep in yourself as well. I think the deeper I understood the material and the script and the themes and the characters, I felt the more confident I was and the more I could bring to the movie. So I was lucky to have my actors because they were right there with me in the deep end.
You feel like a criminal. Knowing you can knock somebody out and know you can put somebody in a temporary coma, that's what you want to go for. It shows how strong, how powerful a person can be to be able to do that.
I don't know why people feel that I am snooty. I am not a person who has ever given an interview on image building. I have never been that person, as I am very confident of what I do. People do PR, but I get completely foxed. I don't know how to do it. I stay away from the limelight, as I think my work should speak on my behalf.
My agent says, "You have an audition for the next Dustin Hoffman movie, playing a pioneer woman." And I go, "All right!" I passed Barry Levinson in the hall on the way into my audition, and I saw him do a double-take. I think I looked so determined that I got the job right then.
I think when you commit to somebody, and you take them off the market, right, I think it is your job as a woman or as a man to ... I don't think you should ever say no. I'm talking about if you're tired or somebody's like 'I'm tired.' No, because at the end of the day you took that person off of the market. They can't go and be with someone else because they're with you. So, don't you ever say no.
On various shows, I've been the producing-director, the executive producer-director; and if you were working with the material you love with the right group of people, it's an incredible job to be doing.
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