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.
First of all, just knowing people who grew up in the movie business at that time, no one had Mexican maids.
I really think the biopic thing so rarely works, because peoples lives dont have a dramatic shape that can be satisfying.
Kinsey was six foot five, and he had this leader of men quality.
Kinsey would identify himself with Galileo in moments of feelings of persecution.
No piece of writing is ever finished. It’s just due.
I think that finding a way into somebody's life that's sort of off from a side angle can tell you more about that person than a greatest hits approach.
I think it would be fun to write about movies again.
I don't think 'Twilight' should be approached like 'Batman.' Because it is an invented kind of world, especially this one, I think it's got to be done with a sense of enjoyment to it I guess more than anything. So I never thought of anything as making fun of it, but kind of reveling in the melodrama of it. It's a melodrama.
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.
My idea of a beach holiday is going to New York for two weeks, just going and hanging out.
Problems emerge and some people try to sweep them under the rug.
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. We're still pushing it, you know. It is weird. Suddenly you wake up and it's like, 'God, five years have gone by.
