When I read a story or see something play out in front of me I say, how come nobody's made a movie or a television show out of this? This is something that belongs in the conversation. Certainly that's what interests me about a project.
As a screenwriter I'm often writing in genres where there have been thousands of movies; whereas when I direct movies they tend to be in between genres. They tend to have a little bit of a genre to them, but they're really about the people, and they're people we haven't met before.
I'm never at a loss for new projects.
I see very small movies being financed by crowdfunding. If you're a well-known actor or celebrity of some sort, you can probably raise between one and two million. I don't have that kind of cult [following].
I've always got five or six things that would either make a good feature or TV show. And you just never know. You go and you pitch and it may be exactly what they're looking for, or they may stop you after two sentences and say, "Oh, we've already done something just like that."
The hardest thing about movies is doing take 12, 13, and 14, and finding new ways to do the same lines. So the early takes are actually easier and I think there's more surprises in them.
There are very few distributors left to do off-Hollywood movies, and those distributors generally have got thousands of movies to choose from. So you're pretty lucky if you get one to even take your movie and it's pretty rare that they pay anything upfront.
I never actually do rehearsals. That's one of the reasons that I write those bios and if I can meet with the actors I'll meet them or talk to them on the phone. What I want is for them to come on set knowing their lines and knowing who the character is.
Sometimes people can't afford to work for you, or they're not interested or available, and you hate to have written the whole movie with somebody in mind and not get them.
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