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The first thing I can really tell you is I really love the work.
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But I really am very active in the choice of the line producer with the producer of record and the distributing company, because I've had some terrible, terrible experiences with some line producers, particularly in cable.
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And in Hollywood, you know, everyone is an expert. Most of them are expert editors. They can't direct, they can't write, they can't act, but, by God, they all think they can edit.
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You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.
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The first thing is that we're being attacked by both the Writers Guild and the Producers Guild. Both of these groups are trying to diminish the importance and strength of the director. They're trying to do it through both frontal and side attacks.
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One of the first lessons you learn as an actor is to listen.
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If you cast the picture correctly, you have a whole lot of leeway. You can make mistakes in other aspects but pull it off with the right actors.
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Historically the director has been the key creative element in a film and we must maintain that. We must protect that, in spite of the fact that there is new technology that's continually trying to erode that.