I'd worked in Clockwork Orange with Stanley Kubrick and since Stanley was such a prestigious director this opened all sorts of doors for me - one of them being Star Wars.
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.
I really want my career to be as an actor-writer-director-producer, you know? I don't know what will be stronger than the other.
When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.
Usually in features, I'm the lead. I consider the director the captain, but I consider myself the first mate, and it's up to me to keep in contact with the heart of the crew.
I became, and remain, my characters' close and intent watcher: their director, never. Their creator I cannot feel that I was, or am.
Having an investor on your board of directors who is naive about public markets or finds them complex or scary is non-optimal.
I kind of romanticized what it was like to be a writer and director when I was in my early twenties. Working as a production assistant knocked that right out of me.
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.
