At times when you're adapting a book into a movie, you have to take certain creative liberties to bridge the gap between the two forms of media.
When you're making a film, you have to make most of your decisions on the run, and there is a tendency to always shoot from the hip.
You have to be very flexible and understand as a director, especially as a writer/director, that you cannot hang onto stuff really hard. You have to be ready to accept those happy accidents and to anticipate that they are going to happen and capitalize on them.
My career is based primarily upon finding a balance with a director and their vision, and that means sublimating my own personal ego toward their material.
I don't think I have too many filmmaking years left since I hurt my spine and knee.
You learn real early to make a film and then duck, and basically that's how I go about it.
Well, like any time you're shooting documentary stuff, you've got to be in the moment, and you've got to be able to be in control enough to capture what's happening.
A lot of directors will do a certain amount of storyboarding and pre-vis, and yet when they get on the set, everything starts to change, and they have new ideas.
Social distancing on a film set is an oxymoron. It can't happen, it won't happen. We can keep lying to ourselves though.
