I've Had A Lot Of Experience Auditioning People, And I Can Do It Rather Quickly Even Though Sometimes I Let Them Linger And Give Them Time, But I Kind Of Know After I See Them Do A Couple Of Steps. I Know.
Michael Ralph Brilliantly Plays The Street Prophet, A West Indian Who Foreshadows The Harlem Riot.
The Radio For These Women Is Like Television Is For Us Today, Which Is Really Like Looking At The Radio.
That's The Only Way I Can Control My Movie. If You Shoot Everything, Then Everything Is Liable To End Up In The Movie. If You Have A Vision, You Don't Have To Cover Every Scene.
As One Who Loves Literature, Art, Music And History, I've Been Deeply Rooted In The Harlem Renaissance For Many Years.
There Are Some Scenes That Work Beautifully In A Moving, Sweeping Master, Which Is How I Like To Work.
It Goes Back To A Style Of Moviemaking I Remember Seeing As A Child, In Movies Like The Man With The Golden Arm, Which I Think Was Shot All On A Sound Stage.
I Didn't Need The Insurance. I Do It Again If My Dp Tells Me It Didn't Look Good In The Camera Or If The Actors Didn't Hit Their Marks. But If Everything Was Working Why Do It Again?
As Far As Pacing The Shoot Is Concerned, I Know When I've Got It. I Don't Think There's Any Reason To Take Ten Takes Unless You Need Them.
The First Thing That Goes Into Shooting A Scene Is Understanding Whats On The Page.
You Have To Examine A Scene On The Page First. Then You Get Into The Basics Of Acting: Who Are You? Who Are You Talking To? How Do You Feel About That Person?
