A Quote by Susanna Fogel
The process of working with the second unit director and basically sharing your workload with another director is such an interesting, delicate thing - and entrusting that person with your vision and making sure that you are not adding a completely different aesthetic to the mix that you don't have to contend with in editing.
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As a director myself, you want to have colleagues and collaborators that respect your authority as the director. I'm very comfortable with that, and I've done a lot of work in second unit.
When I'm in the studio, I write the music, I play the different instruments, I produce it, I arrange it, and it's a self-indulgent exercise. It's the way I make my music. And when I'm acting, I get to leave myself behind, which is a relief. I get to collaborate with a director; I respect the director's medium and all the actors and actresses. So at the end of the day, it's about a character and it's about a director's vision. It's a really good balance for being so intense and alone in my personal process of making music.
It does not feel any different being directed by a first-timer as long as I am convinced that the director is passionate about the film he or she is making. If you get a sense of their vision for the film and their aesthetics of your performance, then it does not matter whether you work with a new or an experienced director.
If you understand the importance of developing a relationship with the director and making that director see that you're the best technical adviser and resource in the world on your subject, you'll be invited on set as a respected and integral part of the process.
Your actors need to trust you as a director, but normally, I think you just need to have an open communication between the actors and the director. I think the director needs to really paint his or her vision to the cast and let them know the kind of mood that he or she is making. I think that's very important.
Directing Mr. Mohanlal was a delight. He's completely there and wanting to know what you want him to do. He's very keen on making sure the director's vision is realised.
You have to accept that the moment you hand a script to a director, even if you've written it as an original script, it becomes his or her movie. That's the way it has to be because the pressures on a director are so staggering and overwhelming that if he or she doesn't have that sort of level of decision making ability, that sort of free reign, the movie simply won't get done. It won't have a vision behind it. It may not be your vision as a screenwriter, but at least it will have a vision.
I can tell you it makes a big difference to have a director who is collaborative. What motivates a character in my mind could be completely different from what the director's thinking. You have to have those conversations ahead of time and throughout the process. It affects the performance.
When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.
If you are able to see on a monitor what it's actually going to look like and have that kind of feedback informing your decisions, then you're bringing back a lot of the decision-making process of the designer, the director of photography and the director away from the post-production process and bringing it back into the actual capturing of the event on film.
From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.
As a second unit director, you're entrusted to shoot the action sequences. On every movie, it's slightly different.
I love the auditioning process. I love working with the technical guys. I absolutely love the editing room. That was completely fascinating to me, working with an editor in crafting the thing into something you had in your head.
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 pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.
You risk working with this director, you risk making this movie, you risk working with another actor you don't know. It makes your heart beat faster. And it keeps you interested.
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