If you were in the film industry at that time, you were always picked up by directors who were much older. You were whisked about and shown things. I did work very hard though.
The '80s were a time of technical wonder in filmmaking; unfortunately, some colleges didn't integrate their film and theater departments - so you had actors who were afraid of the camera, and directors who couldn't talk to the actors.
I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.
As a director, I think it is important to keep a space between yourself and your film. It's like you are in the movie, but at the same time you are watching it from the outside.
I'd love to direct a film, but I don't think I have the temperament for it. I'm very hyper, and I want things to be done ASAP. If I turn director, I might end up killing my actors.
How many movies do you see when you can say this director really knew what film he wanted to make? I can count them on the fingers of one hand.
I want all my films to look distinctly different, like some other directors I admire. But in a way, I can't really take myself completely out of the movies I make.
Movies are a director's medium, and they end up getting less credit than actors. They get the flak if the movie doesn't do well, and the actor walks away with most of the credit if the film does well.
I had never thought of myself as a director and found out that I was not. I am a writer who was able to direct the films that I write.
I've been lucky to get some path-breaking films, which proved to be the turning point in my career. Be it 'Rock on!' 'The Last Lear' or 'Raajneeti,' directors started working in a different way.
Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.
Growing up the son of a director has made me very aware of the various turns that a directing career can take. Sometimes your films turn out exactly as you want. Sometimes they don't. I spent a lot of my childhood on sets. I think as a joke, my fathe...
I have only recently got interested in film, and it is a strange way of working in many ways. But actually, when it is at its best, it's quite an extraordinary way of working between a director and an actor, to really explore an inner life.
On 'Darjeeling,' I was on set every day and I acted as the second unit director and a producer on that film. I was there throughout the whole process. On 'Moonrise Kingdom,' I showed up for one day.
I didn't dream about being a director. I didn't know I wanted to do something with film until the summer between my sophomore and junior years at Morris College in Atlanta, Georgia.
I think producers are more interested in backing concepts than directors and writers. I don't think that's the right way of making a decision about whether you're going to back a film or not.
But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
I think the wonderful thing about doing theater is that it's more of an actor's medium. I think that film is more of a director's medium. You can't edit something out on stage. It's there.
I am definitely writing letters to lots of directors in my mind when I'm making a film. I'm chasing Woody Allen and Godard and Milos Forman and all these people.
All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.
There's the argument that you can relate to someone who's completely unrelatable. In the way that a director shows you his imagination on a film, then I get to show you my imagination in a big dumb character.
