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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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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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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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As a director who loves the camera you learn a lot.
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I've been clawing my way to directing since I was a kid.
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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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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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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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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 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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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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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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Ryan Murphy just gives new people a shot, and it takes a lot of confidence and generosity to do that.
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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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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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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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As a fine artist I was drawn to composition and technique. I would count the cuts.
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TV is all new to me because I came from features.
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Horror allowed me to quickly switch gears.
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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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