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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
Film
Films
Musicals
Stories
Direct
Verbal
Character
Pure
Justified
Look
Move
Literally
Looks
Movement
Cinema
Really
Story
Camera
Moving
Cameras
Tell
Horror

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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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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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NYU Film School was the way to learn about film, to be exposed to film, to go to repertory houses, to be exposed to New York and see films. I would go to the library and see one, two or three movies a day.
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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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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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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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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 still think that being thrown in a very competitive environment where you really have to see what you are made of - certainly when you come out of nowhere - was good for me.
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TV is all new to me because I came from features.
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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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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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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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I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman.
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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'm a fan of musicals from great masters, and I was able to have an opportunity to express myself in musical numbers with Glee.
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There are the relationships you make. All of the friends I made in grad school are the closest ones that I have.
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If you can make the day, you can do whatever you want.
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