Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.
People think that what I see diving must drive what I put into films, but that isn't really the case. When I am making a Hollywood production, I am telling a different kind of story. Of course, if I see something interesting that works, we will look at it, but they are different things.
It's important for me to have hope because that's my job as a parent, to have hope, for my kids, that we're not going to leave them in a world that's in shambles, that's a chaotic place, that's a dangerous place.
It'll be all of our efforts together. It won't won't ever be exactly the way I imagined it. And that is, I think, an important lesson as well, is that in any group enterprise it's going to be the sum total of the group.
The writer must be able to figure out how to limit the effects and still tell the story. Start with one matte shot of the castle, for instance, then go inside and let the rest of the scene play out on two sets. When you have it on the page and people read it, it makes sense to them. On the other hand, if you write the same scene to go inside the castle, out on the parapet walls, back inside through fourteen rooms and end out on the roof, you have just made that same scene four times more expensive, probably without adding a thing dramatically.
You can't be an environmentalist, you can't be an ocean steward without truly walking the walk and you can't walk the walk in the world of the future, the world ahead of us, the world of our children, not eating a plant-based diet.
To convince people to back your idea, you've got to sell it to yourself and know when it's the moment. Sometimes that means waiting. It's like surfing. You don't create energy, you just harvest energy already out there.