“A good film to me is like lightning in a bottle.”
“Studios are so used to digital now, and there is a mythology that it’s cheaper. But it’s really not cheaper. For instance, digital is great for night exteriors; everybody knows it’s a video tap, so it’s very responsive to light. So you can go out at night, shoot with digital, and it’s gorgeous, beautiful to look at.”
“I grew up in Queens, and on Sunday evenings, my parents would drive my brother and me past the factory. We could smell the week’s supply of bread baking. I always connected the 59th Street Bridge with that scent. Who woulda thunk, years later, I’d be there, directing and producing a hit TV show?”
“I can speak to actors in their terms. Knowing I was an actor, they relax. You can have the best shot in the world – but, at the center of it, you still need a good performance.”
“We ask actors to come to work ready to open a vein, to be emotionally thin-skinned. If someone screams, ‘What about my coffee?’ it’s not about the coffee; it’s because they’re working in an emotional state. It ain’t easy being an actor.”
“It’s pretty easy in theatre. The comedy’s either physical or verbal, and you’re looking at the whole frame at once. But TV executives want close-ups. I keep telling them to look at Preston Sturges’ movies. He’ll do a whole scene without a cut in it, and it’s a riot.”
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