John Glen Quotes

The first assistant director is just so important that the choice of that person is critical to the movie.

I guess I'm a good manager now. Moreover, I'm loving the concept of donning the producer's hat. It's all very exciting as well as a great learning experience. You're a part of a film right from its conception to its execution, and that's an amazing feeling.

I got a lot of energy from directing the film 'Ladies In Lavender.' You wonder if you have the stamina because as an actor you can lounge around the trailer during the scenes you're not in, but as a director, you're there from first thing in the morning to last thing at night every day of the week. I found it incredibly energising.

I think any filmmaker looks back and thinks, 'Boy, if we only had four hours more on that day when the sun was going down,' or, 'If we only spent more time and went back.'

Occasionally, I'll direct if there's something I feel strongly about. Having done it has whetted my appetite to do it again, but I don't feel an internal pressure to direct. It certainly will make me a better producer, because I'm more empathetic; I really appreciate now what the director is going through every day.

I've been doing second unit for years, which is sort of like directing mini movies. Now that I'm directing entire films, it's really just more of everything. There are a lot more questions that need answers.

I think the larger productions in India are very methodical and pretty much on the ball in terms of work. When I say work, I mean pre-production and the homework that's required.

I have been a director who has starred, participated on both sides of the filmmaking process.

With big productions, you can sometimes get lost with the terminology and all the different departments.

When you're making a bigger movie, you have much bigger set pieces that require more time and more effort and more people.

My way of getting the best from people on a set is to notice their work, to make every prop master, every seamstress, part of 'The Newsroom' or 'The West Wing' or 'Steve Jobs.'

The amount of coordination it takes to shoot a television show is mind-numbing. There are so many things that have to be exactly right to create the correct environment for a single shot, let alone a whole scene or the full episode.

Making a movie, under any circumstances, is a highly stressful occupation.

As an actor, you see a sliver of how the show is made, but to see the actual writing process and the re-writing process and the casting process and art direction and set design - all of this is happening in a very intense period.

Some directors work from day to day. I work from moment to moment.

At one point, I was greenlighting films and scripts that shouldn't have been made based on the fact that they had that stamp of approval of an Academy Award winner. And the good news is I got to learn the real process of filmmaking - directing, storyboarding, writing.

When you do a movie, you shoot, and then you go away. A lot of the times you walk about from the movie, you say, 'Oh, I get that scene now... Oh, that whole ending - I wish I could have done another shot.'

There is power in helping people get excited about what they do and inspiring and motivating them to unleash their full potential.

After you shoot a day's work, you gotta see rushes, and then you have more meetings with the budgets, with your producers, with your designers. It's never-ending.

I think I was never home when I was directing, because you're either prepping, shooting, or editing, and then acting at the same time. It's really time-consuming, but it was great fun.

One of the great advantages of my time spent in movies and in basically every role possible, both in front of the camera and behind the camera, that I've gotten to see all these different ways that people work and the way movies are constructed from the inside out, from beginning to end.

Sometimes it's not always a good decision to play if people's energy isn't quite there.

I discovered that as a founder and now CEO, my commitment to and passion for Affectiva is super contagious. It is contagious with my team and at internal company meetings, injecting a new energy and sense of camaraderie.

After I finish any film, I move to the next one. It takes about a year to write and another six months are for pre-production and other things. You need a minimum of two-and-a-half months for the shooting of a new film. Then, I also edit my own film.

The script is so key to making a good movie. But everything is against you when you're making a movie: the logistics of putting a crew out where you need to go, whether the light is fading; if the weather's not right, something's wrong.