An actor has to embody a role.
And it's a question of how far we're willing to go in order to let the ego shine, in order to let that beacon penetrate not only the local scene but the world.
Because when you have millions of people with this kind of need for gratification, and the culture is saying that it's possible for everyone to satisfy all of their needs and desires all of the time, there are obviously going to be clashes - clashes of ego.
Ben Bratt is fabulous and he always was. He is totally committed, got a great attitude, and he's just a great person.
But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
But the process of making a film is not glamorous. Certainly not my films.
But, unfortunately, sometimes that affirmation creates a sense that you deserve special treatment and recognition in areas where you're not so talented.
I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.
I feel very comfortable shooting music, and I think you can see that.
I make films about working class people.
I really believe you can predict when someone has a great attitude, a real well of talent.
I try to get the best performance an actor can give.
I'm always interested in the working class people. I am one. They're subjugated, they're paid very little and they can make it in show biz.
I'm always interested in those vehicles through which people can move. The entertainment business is always a possibility.
I'm not in front of the camera, they are. I encourage them; I build up as much of their confidence and ego as possible. They've got to take control; I can't act it out.
If people are worried about the size of their trailers, I kind of say their priorities are off.
It isn't glamorous until after the film is finished, and you are at the premiere and getting your picture on the cover of magazines.
It was the era of Tab Hunter and Rock Hudson; they all had a certain look.
It's all about the same thing, being able to pull people into a situation where you have a vision, and transport that vision off the page.
It's much easier to work with an unknown.
It's very clearly stated in the film: You make your own choices, and what you're always fighting is ego.
Look at Walter Huston in The Devil and Daniel Webster: It's an incredible performance.
Music has always been an important thing to me in my life and understand I've worked in the music business.
My creative partner is a writer, and he's got an executive producing credit on this film. We've made three films together and I would never underestimate the impact of a writer.
Our society gives power to people who are successful. All of a sudden, if you've created something unique and interesting, you're set apart.
Ray Charles, in his own way, it's like at the beginning, Ray Charles changed American music, not once but twice.
Russell Crowe is very difficult, but it's worth it. He's the real thing. I can tell you this. Russell Crowe was just as difficult before he was an international star as he was afterwards.
Show business is one of those things that people can use to get themselves out of the lower rung of society.
That whole process of somebody who has all that charisma and talent, to be able to break through and make it in America is fabulous.
The director's job should give you a sense of music without drawing attention to itself.
The SAS is the most elite of the special forces in the world. They are not people who go out and advertise; they keep it inside. They don't want anybody to know about them.
The whole concept of the devil is a metaphor on one level.
This devil loves mankind because men are going to always make the choice that will send him into ascendancy. He's been winning the game for a long time.
We all get paid very, very well, and we have responsibilities.
Well I don't think I've scored my life exclusively to Ray Charles.
When I finish a film, I put it away and I never look at it again.
You have to understand that I collaborated for 15 years with this film with Ray Charles. So, I did my own independent research. I've read is autobiography. And I feel his autobiography is a difficult story to perceive because I do tell the story from the point of view of the artist, only.
You'd be surprised how many movie stars still care about the work.
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