You’ve got friends and family. That’s how we get by. We talk and share and eat cake and giggle in the dark, even when we’re scared – no, especially when we’re scared.
I had a couple of movies that I was passionately involved with that I could never get made. ‘Richard Pryor,’ I wrote for – gosh – over a year. That was close to getting made for two-and-a-half years after that.
That day I think we really saw each other for the first time. I mean, saw beyond the bag of bones on the outside. You take away her pretty and my plain and what you get underneath is about the same: a couple of lost girls looking to be found.
The thing I’ve noticed about life is that it just keeps coming at you. And it can be a real bummer. What you need to remember is that you’re not alone.
From its inception by Michael Bennett, ‘Dreamgirls’ has always been an epic story with an ensemble cast. I didn’t change that. The screen version remains, really, a group story.
But you really – I always think that a director has got to adapt to whatever the needs of the actor are. You know, so if you take someone like Eddie Murphy, who is not a big fan of rehearsal.
I do think that’s so much a part of what being a director is – in working with actors – to really try and be sensitive to what each actor needs to get to where he wants to be.
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