I like filmmakers where, if their film comes on and you step in halfway through it, you can recognize that, hey, this is a Coen Brothers film. Or, hey, this is a Stanley Kubrick movie. You can recognize some filmmakers. Like, if you put on a Sam Raimi movie, you can tell that it's a Sam Raimi movie pretty quickly. I like a signature style that people can recognize and relate to, and connect with. I think that is part of why we seek out certain directors. We want to see how they view the world.
Stuff that happens to you in your life when you're shooting a TV show, you have to be careful, because it might end up in the show. And that's what I think is the neat thing about TV: how alive it is, and how the writers respond to the stimulus that they're getting from the actual actors. Whereas a movie is more hermetically sealed.
I think all good drama is funny. All the best drama is ultimately very funny. Life is funny. You can't have any honest treatise on life without bumping into some humor.
Television is kind of restrictive in its directing, but it would be nice to get some chops doing TV.
If I have things my way, over the next few years, I'm going to be doing a lot more directing and a lot less acting. That will be fun for a while.
Creating a world in a sci-fi show is almost the whole battle. If you have a great story and you can create a great world, as far as the acting goes, it makes my job a whole lot easier.
Anything that has to do with noir and space, I'm gonna love. When you've got a noir-ish, pulpy detective in a science fiction show, I'm all in, in that regard.
I do know that people tend to do their best work when they're challenged and stimulated by their peers.
I don't like to stick to one formula. That gets boring. I get bored, so I want to try different ways of getting inside something.
Most actors have a process that they can go through, that they rely on, or that they've discovered, and that can evolve from project to project.
We're in the doing business, or acting business and creating business. We're not in the results business, so we don't have any control over what the result is.
I like to imagine that all the choices you make during the day that you're doing a particular scene are going to feed into the creation of that scene. It's not a movie-by-movie or a part-by-part basis. It's a day-by-day thing, and sometimes an hour-by-hour thing.
You just have to go with a good story and a script that you like and people that you like to work with.
Great directors turn in mediocre work and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know.
Sharing the same vision for what's on the page is always a good idea. The director's job is to establish what that is and make sure that everyone sticks to it when it comes down to actually executing it.
Establishing what the vision is and being able to stick to it is the job, and everyone should be on the same page, going in. With that said, first-time director or not, you never know what you're going to get.
When I was doing character films, I would always try to find something to subvert the standard. You know, to play them exactly for what they are. That's the fun for me.
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