Orlando Bloom with director David Leveaux and Christian Camargo
A d.p. legend for his lush color lensing on “The Red Shoes” and “Black Nar- cissus,” the Brit went on to direct “Sons and Lov- ers,” which earned him an Oscar nom, and such cult releases as “Girl on a Motorcycle” before return- ing to the d.p. ranks.
Went from lensing the Coen brothers' “Blood Simple,” “Raising Arizona” and “Miller's Crossing” to helming such blockbust- ers as “The Addams Fam- ily,” the “Men in Black” tril- ogy and “Get Shorty.”
Was Paul Verhoeven’s d.p. ("Turkish Delight";Basic Instinct") before direct- ing "Speed,";"Twister"; and "Lara Croft Tomb Raider: The Cradle of Life."
A d.p. on “Fahrenheit 451” and “Petulia,” Roeg even- tually became one of the most distinct directorial stylists of the '70s and '80s with “Walkabout,” “Don't Look Now” and “Eureka.”
The Brit d.p.'s credits included “Blithe Spirit” and “One of Our Aircraft Is Missing” before going on to helm “The Prime of Miss Jean Brodie,” “The Odessa File” and “The Poseidon Adventure.”
"Even to think of myself as a king in any way is very difficult. I would change so many things, honestly. I would find some way to separate the creative impulse from the economic necessities of the business, because that's the place where everybody runs into trouble. If those two things could be separated, I think the product would be better in the end. We never have enough time or money to do the stuff we want to do. You find yourself just struggling (to achieve) mediocrity amid the financial constraints of a show. If we have (done better), it's by virtue of luck and stumbling in the dark, honest to God."
"The one thing that struck me was the (process) of getting to pilot. The fact that you pilot something, you're trying so much to get everything right ... it came as a bit of surprise to me that that experience, which is always a bit experimental, becomes the premiere episode of the show that every reviewer watches and every audience member makes a judgment on. By the time you've made it, you've learned so much, your instinct is to want to go back and change, (and yet) it becomes the most high-profile part of the season. Maybe when you make a pilot, you should do it as episode five, just to take the heat off."
"If I were king for a day, I'd immediately fall in love with a divorcee, abdicate the crown and have my younger brother assume the throne. He's a third-grade teacher, a phenomenal guitar player and a black belt in Tae Kwon Do. I'm not any of those things. How's that for dodging the question? The TV business already has a monarch: King William of the 'Duck Dynasty.' And I see no reason why he should give up his throne to me — even for a day. I've never been able to grow a full beard."
"Condescension. Networks do it with misleading promos and prurient programming, as though the typical viewer is an easily fooled, easily titillated 15-year-old. And show runners comply: Does anyone really still laugh at penis jokes? The typical viewer can drive a forklift and conjugate a verb and navigate a relationship, and has probably read 'The Great Gatsby.' Treat him with respect, and he might come back to your party."
"I think I would say that as a rule, in television as in everything else, too many cooks spoil the broth, and in a way the best work that I've ever been a part of is always when there is the smallest team making it and when you get a few people who will think alike. 'Downtown' is essentially made by three people: Gareth Neame, Liz Trubridge and me. We bat around var- ious ideas of this and this and this, but we have so clear a con- cept of the show that we never get terribly muddled about whether something is right or wrong. I don't mean we're always right, but more or less we hang on to the standard. The more you get into one of those committees of people that try to justify their existence ... the more projects (lose their way)."
"I'd figure out (or rather, my gaggle of young MBAs would figure out) a way to monetize TV movies so that networks could start making them again, big time. I can't be the only guy who misses films written for grown-ups. If the major studios can no longer turn a profit making great stuff like 'The French Connection' and 'All the President's Men,' then maybe the TV and SVOD folks could fill that void."