In film producing, there is an inherent tension between the director, the money and the producer, and that's what keeps it flowing and honest and accountable.
When a crisis occurs, I feel that one of my greatest responsibilities is to set a tone of calm no matter what the problems. Sometimes I have to fake confidence a lot. I also have to fake calm.
I keep trying to train myself to stop saying 'filmmaker' and start saying 'storyteller.' We're telling stories.
It's humiliating to have to explain your value.
The only way to sustain a career is to be as prolific as you can be, and open to opportunities.
I always say, what really makes a movie commercial is that it makes its money back.
My first job, honestly, was as a proofreader. I say that a little disparagingly, but it actually was this sort of incredible thing, where I got this job proofreading for a cable television magazine.
I came to New York, and it was a really cool time. People like Jim Jarmusch and Spike Lee were making their first movies, and they were making movies that were personal narratives.
Being on a set where the director has lost control is just sickening. No one goes the extra mile, theres a lot of eye-rolling... it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.
Ultimately when I throw myself behind a movie, I have to really believe in that directors vision.
There were Hollywood movies and then there were those aggressively anti-narrative films that they showed at the Collective for Living Cinema.
I think that when you're doing an under-four-million-dollar movie, you just can't throw money at the problems.
There's something in the Zeitgeist now. A lot of [film] scripts I get have these very dark themes, a cornucopia of dysfunction. You know, Jane is a 13-year-old anorexic who lives with her parents and has been raped by her father. And this is a comedy.
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