49 ordspråk av Debbie Allen
Debbie Allen
I owe a lot to the Brainerd legacy for my accomplishments. My pledge to you and my mother is to come here in the spring and have theater arts across the field of Brainerd. I have a commitment to this project, these grounds and what Brainerd is about.
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I think a good director casts a film so that the actors bring a lot to the table.
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I use something that is a real staple in the directing world. It's called a dance floor. You lay it down so that it's so smooth you can roll around, and you can put furniture on top of it. It's seamless and you don't see it.
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I'm always moving forward.
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I'm respectful of other artists and I think there is a way to talk to actors to let them know they are making this. It all has to come through them.
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In scoring we have a lot that was not evident in the shooting. The radio is on all the time.
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In the film world you don't often get much rehearsal time. Only on big-budget films do you have the opportunity to rehearse for a week or two.
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In today's competitive marketplace, you can't afford to be humble.
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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.
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It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.
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It's rare to find parts where you see two women who relate to each other in that very natural way, with a lot of humor and pathos at the same time.
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Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see what the challenges are, what makes it better. It works wonderfully.
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Michael Ralph brilliantly plays the street prophet, a West Indian who foreshadows the Harlem riot.
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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.
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The biggest challenge was that we had to shoot so quickly and with such a limited budget.
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