When I'm working with improv people, I give them the green light to just bring it and try things.
I argued that until FBI director James Comey gives a green light to new visas, and not until we completely reform the vetting process for new foreign visitors, that the borders should be sealed.
Light is a metaphoric thing. There is green light and red light. Then there is black light, which is mostly danger.
I let the players use their abilities and what they're capable of doing. If they're capable of stealing bases, I'm going to give them the green light. I'm going to teach them to pick their spots and to get a base when they can get a base.
Nothing surprises me on 'Happy Endings,' because the show - I think one of the awesome things about the show is that it's so open to doing anything. We could do a genre episode. We have the green light to do whatever we want. Mostly because no one's watching.
I owe a lot to Darren Perry. I don't think I'd be this far this early if it wasn't for him pushing me to run an extra second or showing me a play on film and telling me when I see it, that's the green light to go do it and don't be afraid to take that next step and take chances. That's what the game is about.
No one has a green light when they start a documentary - not ever.
As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.
I suspect that most people in the world will travel through or at least wish to travel through Miami in their lifetimes. I think it is on the same level as seeing the pyramids in Giza for many people. But, Miami is slippery: It is a place that is always that distant orgiastic green light while also being a hot, tropical, and very real place.
People complain about Hollywood movies being similar. That goes right down to the fundamental green light process, because the process involves having to compare it to three other movies.
When 'Vida' got the green light, Starz sent me this picnic basket of Jamie Fraser red wine and all these 'Outlander' things that I'll never open because it's like my sacred thing.
The film you know as 'Super Troopers' is a film that almost didn't happen. The script was originally commissioned and developed by Miramax, but when it failed to get a green light, Harvey Weinstein was kind enough to give it back to us so we could make it elsewhere.
Because of that I don't care when I read in the newspaper that I am colourblind. I went through a red light in my car and I stopped when I before a green light. So I must be really colourblind, eh?
'Speed' and 'Point Break' were a lot of running and jumping, and then 'The Matrix Trilogy' had a lot of fights and wire work and green screen elements.
It's hard, the green screen; it's a different way of working.
I did green screen for the first time! I wouldn't like to do a whole movie of green screen, though. You kind of forget the plot a little - like being in a Broadway play and doing it over and over and forgetting your line halfway through.
If you give an actor a green screen, the shot may work, but that green screen will not inspire you on the set as a director or as an actor.
'Green Screen' was a total experiment. I'm glad we did it, but it was just tough on that network to get it going.
When you're doing a film that has so many effects, you do a lot of it on green screen, and you can't see what that world is.
I don't have a problem with green screen at all. I think children invented CGI. We invent worlds. A stick can become a sword. Or a bowl of stones can become a bowl of tomatoes. That's what children do, and that's what CGI enables us to do.
