You’re not just a part of the team. You’re really in charge, and the responsibility falls on you if all the components aren’t there for a worthwhile film.
I’ve had enough of those short comedy bits. Tell me a story, tell me a more complex story, something that lasts and maybe has a little more meaning to it.’ Don’t ever look at what’s happening now; look at what’s coming next.
I pretty much live about 10 minutes from my office. I have two kids, and I have about 8 projects that I’m working on, so I basically just get up and go to work, and go home every night and play with my kids, so I don’t really know.
The alternative scene, for a couple years now, has been taken seriously and that’s a cool thing. I don’t think it’s exploded or anything, but I think it’s pretty cool that it still exists, it’s still affecting people.
Being comedic is a skill, because there is a fine line where the context is important. And being dramatic is just being honest and real in that moment.
You get to use everything you learned in movie business. You talk to actors, if you do it right – and I haven’t always done it right – you should be shaping the material all the time.
When they’re doing a stupid role in a bad production, it’s kind of a dumb thing to do when you’re an adult. When you’re doing a great role that’s well-written, it’s an enviable job.
I’m about to go to Sundance for my 3rd year, and Sundance has never felt like a real independent festival at all. On the other hand, it might to start feel that way.
I think independent movies are actually very challenging right now, because it was this huge scene and it was great for a few years. Then, it was totally co-opted by the studios. Now, it’s become very corporate, the independent scene.
In the end, the thing that really stays with you is not that you were clever enough to connect a sketch to another sketch, but what really sticks with you is when you just have an incredible moment happen, or execute a really funny idea.
