In Dreams... well, I was slightly overcompensating with that. I was a bit like a director for hire, so maybe I was putting too much imagery that was familiar to me into it.
Different people have different styles, but there is an opportunity as a director to be a writer in every moment, with every visual cue and every piece of production design. Everything is a decision, and everything can be obsessed over.
Supremely, spiritual directors/mentors/pastors are persons who have a sense of being 'established' in God. Otherwise they are too dangerous to be allowed into the soul space of others.
I love improv. 'Crazy, Stupid, Love,' the script was really great, but the directors were open to letting you try different things. And that felt like a muscle I hadn't exercised in a really long time.
I love the first two X-Men movies because I thought that Bryan Singer did such a great job. He elevated that whole genre. He's a very talented director.
I'd never really done comedy before 'Community,' so getting to work day in and day out with all these great people, directors, writers, and actors, I feel like I've learned a lot.
That is the great pleasure of working with great directors. You get to look at the world through many different prisms. I guess I love talent, whatever form it takes.
The worst is when I talk myself into something. Sometimes you take things because you want to work with a certain actor, or you want to work with a director, even if the script or the part's not that great.
It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.
A lot of TV is put together by teams, by writing staffs and several different directors. It's a great, very smart way to make television. It's worked for however long TV's been around.
Granted, the writers, directors, producers, and that community make a great deal of money. But they might be choosing to do a whole lot of other things for the living they make.
If I have enough ego to say I'm a writer, a director, a producer, and an actor, I should have the energy and the knowledge to write a scene for this great actor named Henry Fonda and direct him in it and have it work.
I am not here to beat anyone. I am here to make a name for myself, and I am glad to work with great directors. I don't believe in the term 'next superstar.'
I want to work with great directors and try not to put too much pressure on myself and just read things for the story and recognize when I'm drawn to something for the right reasons and try to maintain some sanity.
I think movies are a director's medium in the end. Theater is the actor's medium. Theater is fast, and enjoyable, and truly rewarding. I believe in great live performance.
A great director or leader knows his people, creates a great team, and then makes a great movie that can influence millions more than the readers of his column.
I'm not particularly needy, and I'm not particularly anxious. I don't look for a director to tell me I'm doing a good job or that I'm great. I don't need to be stroked. It's more my own yardstick.
I don't see how it's a risky thing to take a great part with a great director and a great script. That, to me, is not really a dangerous, risky proposition. It's actually a really good choice.
I sketched out a rough story for them and the director said, well it's a good story but we have the go-ahead from Universal to make this script and did I want to do it. I said no, and they left.
As a director, I really wanted to learn and I needed to get away from my own stuff to figure out how to just do things and work with good people.
Obviously I've got a great team of people within the company. You can't operate all by yourself. We have a good board of directors and a big bench, and they can make decisions if I'm not around.
