I always think I could do better. I always think that something could be more perfect, but I think that that's just within my nature. I think I want to please a director, I want to give my everything and find every which way I could have burrowed further into a character.
I've done documentaries and TV for six years but this was my first feature as director, so there were moments when I'd look around and was excited... but, of course, it was also very challenging on a day-to-day basis. And, of course, now that it's coming out people want to talk mostly to the actors.
In college, unable to be "special" - or in demand - as a girl, I made myself useful, even essential, in my microcosm - as a writer and photographer for the band, particularly for the band director. My "specialness" was to produce something of value, not to look like something (with that different kind of "value"), so I was still fundamentally invisible, but had a significant purpose.
The biggest thing I've noticed with some of my favorite directors is their gift of sticking a bunch of strangers in a room together and making them comfortable and making them into a cohesive group. There's magic involved, because you don't know why anybody would pick this group of people.
I hope my talent has something to do with it. I just think this business is so crazy. I obviously do the best I can, and the directors I admire see something in me. But this is a strange business, and there are people who are incredibly talented who never make it, who never get these opportunities. So that's why I say I'm lucky. I don't feel that I'm not talented - I think I am talented - but I also think I'm very lucky.
I stayed in Hamburg a few more days, and during that time I received a visit from Rolf Aldag, the sporting director at T-Mobile. He advised me to tell the truth.
I'm friends with [David] Fincher. [James] Cameron gives me advice. I know a fair amount of directors who have been through it, and they all felt pretty confident that I would be fine when I got my shot. So their confidence made me feel confident.
It's an extreme to go from an artist like myself to a commercial artist with art directors looking over your shoulder, or any other knucklehead telling you what your art should look like.
I want make more records with my sister. I want to go on the road. I want to tour around the world. I want to continue to make great films and work with incredible directors that I respect and look up to.
My first soldier role was in 'Flags of Our Fathers.' Casting director Jay Binder saw that movie and was looking for soldiers for 'Journey's End,' which led to 'Generation Kill.'
I realize I am contradictory: I have an independent filmmaker's sensibility and a Hollywood director's short-attention span.
As a director, if you know what you want, then it's not scary.
I depend on good editors and a good director.
There are lots of good directors I would like to work with; I want to be inspired and challenged by them.
Back when I was looking for my next step and was researching Gannett, I was interested in who was leading the various businesses within the organization: Are there a lot of women and minorities in important, operational roles, senior management and the board of directors?
Those who have themselves for a spiritual director have a fool for a spiritual director.
I hope I don't just do the exact same thing my whole life. I also feel like it's really hard to make comedy. It's almost impossible for comedy filmmakers and directors to stay relevant as they get older.
It never occurred to me to be a film director, partly because I hadn't seen a single film by a female director, but I liked the idea of being a writer moving to Hollywood and being unhappy; that sounded romantic and fabulous to me.
When I was creative director [at Estée Lauder], I was always being asked about my beauty must-haves. From there I had this fun idea to create a line of what was in my makeup bag. But I also love accessories, and people associate me with home, family, and beauty. As a girl, my favorite toy was my dollhouse; if I could still play with it now, I would! I used to love a well-arranged room: the furniture, the fabric, the lighting.
When I took the job as Estée Lauder's creative director, the first thing I did was go into the archives! I love taking our heritage and making it modern.
I fall in love with all the people I'm working with, women, directors, everybody. As actors, that's actually one of the real pleasures of the work. You have this weird opportunity to get unnaturally close to people very quickly.
Sometimes when you're doing a comedy, the director will yell out "alts" and then the director gets the first laugh.
When I'm filming a kill scene [as a director], I just get happier and happier as we chop up body parts.
If you're creative, they let you be the showrunner, producer. The first thing my partner and I did as producers was hire ourselves as directors - because who else would hire me?
In the old days when I first was coming up, you would turn up on set in the morning with your coffee, script, and hangover and you would figure out what you were going to do with the day and how you were going to play the scenes. You would rehearse and then invite the crew in to watch the actors go through the scenes. The actors would go away to makeup and costume and the director and the DP would work out how they were going to cover what the actors had just done.
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