Friday, November 15, 2013

Steve McQueen, Paul Greengrass, David O. Russell, Ben Stiller, Alfonso Cuaron and Lee Daniels on explaining long days on set to their kids, getting notes from executives and what made them go behind the camera for the first time.

Roundtable: Ben Stiller, Alfonso Cuaron and 4 Top Directors on Fighting With Studios, Firing Actors


This story first appeared in the Nov. 22 issue of The Hollywood Reporter magazine.
In the mid-1990s, Ben Stiller spent some time sleeping onDavid O. Russell's couch. That's when both were struggling to make a name for themselves and working on Russell's second feature, Flirting With Disaster (1996), in which Stiller starred.
Decades later, they're two of America's most versatile directors -- Stiller, 47, is responsible for this year's The Secret Life of Walter Mitty, while Russell, 55, has American Hustle -- but getting there has meant overcoming serious bumps along the way. That's an experience shared by many of the other helmers on this year's Director Roundtable: Gravity's Alfonso Cuaron, 51, The Butler's Lee Daniels, 53, Captain PhillipsPaul Greengrass, 58, and 12 Years a Slave's Steve McQueen, 44.
What's the hardest thing about being a director?
David O. Russell: To not know what your inspiration is. And that was hardest for me about 10 years ago. I was very humbled to sort of lose my way after Three Kings, in my personal life and in my professional life, and it really made me a better filmmaker and, I think, a better person. I feel I found a kind of story with a kind of character that's been three movies deep now -- The Fighter, Silver Linings Playbook and American Hustle.
Paul Greengrass: That kind of crisis, directors don't talk about enough. I had the same. I had a real problem trying to marry up where I began, which was in documentaries, with features. When I got into my 40s, I had a real crisis, 'cause I felt I'd lost touch with what had got me shooting in the first place. I'd spent 10 years making films and getting further and further away from my point of view. And the funny thing is, it felt like I was getting worse. And it was only when I had to go through that struggle, that crisis, over a number of films [that I found] what was truly inside. You suddenly feel free.

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