Quote

Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.

Alfonso Gomez-Rejon

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Alfonso Gomez-Rejon
Age: 52
Born: 1972
Born: November 6
Actor
Film Director
Film Producer
Television Director
Laredo
Texas
Alfonso Gómez-Rejón
Look
Move
Literally
Looks
Movement
Cinema
Really
Story
Camera
Moving
Cameras
Tell
Horror
Film
Films
Musicals
Stories
Direct
Verbal
Character
Pure
Justified

More quotes by Alfonso Gomez-Rejon

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At some point, you have an opportunity to not be a first-time filmmaker anymore. You can embrace the genre and show the world how you can tell stories on a bigger scale.
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I've been clawing my way to directing since I was a kid.
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If you can make the day, you can do whatever you want.
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I'm really grateful to Ryan Murphy for so much because he's fearless. He's so confident. He has a very unusual and unique way of seeing the world sometimes, and he's somehow able to translate that into entertainment for the masses, at the right time in pop culture.
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The fun of directing for me, other than working with the actors, is trying to extract those ideas that you have in your head and make them real.
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Horror allowed me to quickly switch gears.
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To me film school was film history because there weren't a lot of books out there that I had access to.
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If someone already knows you from being in the trenches with you on this TV schedules, and then you have a little bit more time, it's a treat for them, as well, because they can give you more.
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I started in the P.A. world and craft service and storyboard artist, with the eye on the prize of directing. When I was directing second unit on Babel, I ended up casting most of the unknown parts. In these weird circles, I was this guy who found these kids on the streets.
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The Ryan Murphy television world has assistants who have become producers and writers and. If he trusts you and you have a unique way of seeing his world, he nurtures you.
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Being exposed to the Ryan Murphy machine, it is very much a personal extension of him. So, if I can learn from that and tell longer stories that are quite personal, and balance that out with features, then that would be the ultimate dream.
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As a director who loves the camera you learn a lot.
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As a fine artist I was drawn to composition and technique. I would count the cuts.
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It's a great asset to you, on your first film, to bring some people with you from the television world because they understand the speed that you have to work with to get your grand ideas down.
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It becomes an extension of your imagination to make something tangible and concrete.
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On some kind of unspoken, deep, deep level, I think we [with Ryan Murphy] have an aesthetic that we both understand or connect to. It's not that we see the world in the same way because we have very different points of view, but we're both visual stylists.
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I don't set out to do something weird, but if you see something a certain way and it's a little left of center, and you can realize it, that's a real thrill.
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Ryan Murphy just gives new people a shot, and it takes a lot of confidence and generosity to do that.
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I just wanted to make movies, but I never though about, How am I being perceived because of my culture or my skin?
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I was only driven to be the best and it was very disheartening sometimes that it took me so long to start getting my voice heard. That certainly started with television, but it was never because of where I came from, it was because people saw something in me.
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