If a movie doesn't even have financing yet, they'll do a table read for it at a casting director's office with actors, for the producer and the writer, just to hear if the movie is working.
In 'Winter's Bone,' it's literally the director and the camera operator. That's it. Just a super-small Kubrick crew. You know what I mean? Like, 8 people.
I came up in the community center. I used to be physical director of the South Central Community Center in Chicago on 83rd. It's still there. It used to be around there when I was a kid.
Two-thirds of the directors at the New York Fed are hand-picked by the same bankers that the Fed is in charge of regulating.
I think a lot of people have a vision of L.A. in which TV executives and movie directors plan their latest productions by the swimming pool.
The director is planning on titling the film 'Yummy Fur' so we are probably planning on changing the title of the book to 'Yummy Fur' to match the film.
Frank Miller is more of a visionary than any director I've ever worked with, and he achieves that vision better than anyone I've ever worked with.
There's an inherent idea that if a Black executive producer and a Black director are going to do a movie based on a Black writer's book that everybody is going to be Black.
I'm not intimidated by other actors at all - or directors. I don't care who they are. But I am intimidated by writers. I hold them in the highest esteem.
When 'The Pacific' came around, I had to audition the old-fashioned way. It was the casting director and then the producer and then another producer and another producer and then Spielberg and Hanks.
You get spoiled as a novelist because you get to be the director and the editor, and you play all the parts, but as a screenwriter, you are a bit down the ladder.
One reason I left local news was that I was tired of the constant musical chairs among news directors.
Every part I've done has been for one reason or another-money, or the part, or the director, or the location. I'd like to get one thing that's all of those combined.
I'm a pretty hands-off director. I let people try things, and if it gets over-jokey, then I'll try and rein it in a little bit.
No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn't often happen.
It was difficult every ten days having a new director. I'm a real collaborator and, as an actor, I want to be directed. It's hard for me to shift gears.
In my first film, Five Corners, I played a very scary, violent crazed character, and it exposed me to a lot of directors.
I was the first person in the world to audition for 'The Hobbit'. The casting director told me that when I went in. That's a lot of pressure, isn't it? The first person in the world.
I got my dailies every day, although I couldn't always look at them because I was usually preparing for the next day's shoot, both as an actress and as the director.
I've got to be out doing a million things. That's how I find stories. That's how I get the relationships and get the projects that I get with the writers, the directors.
I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.
