Originally a record producer more or less hired a bunch of professionals to participate in a recording session, the performers and the technicians, and a music director was put in charge. That directly related to a film producer's job.
In theatre, there's the director, the writer, and below them the actor. In film, it's the actors who are most important. That goes against the grain for me.
If Martin Scorsese calls, I am available. And then there the ones, well, you can just run down the list - any of those Oscar-nominated films, they have amazing directors across the board.
My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.
I think TV is much more the writer's medium and film is about the director and their vision and how you can collaborate with them and see that through to the end. They are so different.
One thing I know is that I don't want to be a director for hire, making genre films.
I had become a film director because I thought I could express something in an artful way.
There has never been a female director who has won an Oscar. There has only been one woman who won at the Cannes Film Festival.
As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.
It's pretty clear to me that working as a director for hire agrees with me. I like it. The films that have come out of that, I personally like better than the ones that didn't.
When I made my first film, I didn't think of it as directing, so it wasn't like I set out to become a director.
It is not easy to get parts in mainstream films for most people of color. Hollywood and British writers are not writing parts for us, or the directors are not interested in casting us in parts that are color-blind.
Not at all, I wanted to go into medicine. I took science in college. But my dad was a Producer - Director in Kannada films, and someone saw me, and one thing led to another.
I've actually been given a great gift. When I walk into an audition with a director, I'm carrying no baggage. They haven't seen me in anything, even though I've done nine films.
I've been really lucky to work with some really great film people in the past, but television works on a much quicker schedule, and it's the TV directors I've worked with that I looked to and became a big fan of.
I love working with Scorsese. He's not only a brilliant director and is great working with actors, but he's also a walking human film encyclopedia. It's fun to talk about movies with him.
It became very clear to the director that it would be foolish not to use our friendship. I had tried to talk to him about it because all the relationships in the film are so, not negative, but antagonistic. There's not a lot of love going around.
I used to love Woody Allen but feel he's become a hack as a director. 'Bullets Over Broadway' is the only film of his I've enjoyed in the last 10 years.
My taste in the films I've taken as an actor is similar to what I'd do a director or writer: all quite odd, challenging stuff, slightly off-the-wall.
In my first film, Five Corners, I played a very scary, violent crazed character, and it exposed me to a lot of 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.
