If a scene doesn't work on three levels - it's not advancing the story, the characters, and telling me something new - then put it in the trash.
I think it's true that the more sanitized a person is, you can't really relate to that person.
Some of the best stuff in all my movies has been improv.
I used to be an architect, so I have a series I am working on with USA Network that I created and am co-writing.
I just wrote a really cool script. It's called "One Track Mind." It's an origin story about the most successful and the most foul-mouthed, outrageous songwriter in history.
People are more likely to help other people who look exactly like them. They will hang out at the bar and on the golf course with them.
I really wanted our male characters to be a lot stronger. We gave them careers, lives.
I directed the first "Twilight" movie. It was in my contract that I could have gone on to do the other films, but I didn't feel as connected to the other books.
Now there are three guys who directed "Twilight" films that had a gross of a gazillion dollars. All those "Hunger Games" guys, the "Divergent" guys. All those people. When they are looking for the next big director, they see they have a track record. So there's 20 people that spun off of "Twilight" that have more qualifications than any woman.
Of course, the male-directed films make more money.
Meryl [Stripe]spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately [biased] on what kind of films you are being told to go see. What are you told are good films? Male films.
Most of the female-directed films, if they got distribution, would have fewer dollars to support the film and play in fewer theaters than the men. Because the female-directed films go to smaller companies. So the gap starts widening.
I was told 50 percent of the population gets cancer. Everybody is going to be affected.
The truth is, most of those female stories that are contending for Oscars are directed by men. Let's be honest. I looked at the 44 Oscar contenders in Variety that someone wrote up - there was not one directed by a woman. All the ones that were getting an Oscar pitch with the money and everything behind them were by men.
We love those beautiful, Latin American stories where there is an element that's more mysterious and wonderful. I think as a child a lot of us love the idea of the star and more of the supernatural elements.
You actually do confront your dark side, your impulses, or your feelings of sibling rivalry in Cinderella or whatever. You admit that they exist and then you work through them and conquer them and come out living happily ever after having learned something. That's one reason why the fairy tales keep having traction and meaning.
I thought it would be quite a challenge to direct a mystery thriller. I hadn't really done something like that.
We read about secret lives that people have on the Internet, or alternate lives of a serial killer where the whole family didn't know that their dad or their brother or their child was that. There are all the things in our heart that no one really knows, and I thought that that was interesting territory to explore.
Since I was a little kid, I did like fairy tale. I did dress up like Little Red Riding Hood. My mom had to make me a cape.
Even after I had just done Twilight, which made $400 million at the worldwide box office, I could not get financing for three or four projects that I really loved and I thought people would love because they didn't fit some studio or investor's model of thinking, "This will definitely make money." It's a business and a film does potentially cost millions of dollars, and they have to think that they're going to get their money back somehow.
Hardly any filmmakers can just make anything they want. Obviously, there are some exceptions, like Steven Spielberg, but he has that mainstream mentality and the kinds of films he loves to make are the kind that appeal to this big, mass audience.
For Twilight, I wasn't thinking it was going to be a crazy success, or anything. It had been rejected by all the major studios. Nobody wanted to make it and they didn't think it would make any money, but I read the book and I thought, "Wow, I want to capture that feeling of just being crazy in love. I wonder if I can do that in a film." That was my challenge.
I thought, "If I can make you feel what it's like for that first super-passionate love, other people might like that too," and, of course, they did.
As a director, you try to do things that are going to touch the human experience somehow, and emotions that mean something to people. You search for those projects and you hope to realize the potential in a project.
You can't really just think, "Oh, I want to make something that is going to appeal to every single person in the world." You have to just try to make a movie that comes from your heart.
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