Every creator sets up their world differently. That's what's so amazing about someone like Aaron Sorkin and his writing.
I don't ever want to impose something on the story. I want the story to tell me.
I like to really know what every scene is about, what the text is, what the subtext is. Then I figure out how to express that when I'm shooting.
I was born in Dallas, and I grew up both there and in New York City, which was very schizophrenic.
Like any director working today, I started out when somebody took a shot at hiring me. It's how we all start out - male, female, white or minority.
One of my first episodic jobs was on 'Twin Peaks,' if you can imagine that - one of the most unusual series ever.
Sometimes there are no good choices.
The characters, to me, in 'Homeland' are not one note in any way.
To anyone in the position to hire women directors: Make the commitment.
Trust the material; trust the story that you're telling.
When you're working in a collaborative storytelling medium, every step of the way, you're opening yourself up.
America had the message of freedom and democracy, but we haven't actually shown that to be what we do in the world. So I think that's a terrifying thing.
As somebody who has been an executive producer on a television series, I can tell you that increasing director diversity is as simple as hiring more women and more people of color.
Demi Moore is an extremely sexy woman. Melanie Griffith, Annette Bening - these are all brave women. They've all managed to have kids and still be sexy. If anything, being a mom makes them even sexier.
Film schools are now nearly 50-50 male-female, and women are also well represented at festivals and in indie film. But what happens to them after they direct their first film or short? Where do they go? They certainly aren't being given the same opportunities as their male counterparts.
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