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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.
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
Time
Bits
Someone
Give
Littles
Trenches
Little
Schedules
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Treat
Well
Treats
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More quotes by Alfonso Gomez-Rejon
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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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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It becomes an extension of your imagination to make something tangible and concrete.
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Horror allowed me to quickly switch gears.
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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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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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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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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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As a director who loves the camera you learn a lot.
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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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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.
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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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TV is all new to me because I came from features.
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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.
Alfonso Gomez-Rejon
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 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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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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Ryan Murphy just gives new people a shot, and it takes a lot of confidence and generosity to do that.
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If you can make the day, you can do whatever you want.
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