I always direct next to the camera and watch my actors, and so you can see the small things that you can't see on the small screen but you can definitely see on the big screen.
F. Gary Gray
Creativity is a mansion. If you're empty in one room, all you have to do is go out into the hallway and enter another room that's full.
My parents separated when I was 2, and my dad always lived in Chicago and my mother in L.A. I'd go back and forth and sometimes spend the summer with my dad, but L.A. was home.
I'm not afraid of a big studio film; I trust my instincts. But for me, it's not really about box office. It's about looking back on your work and not having to apologize for it.
Hip hop has been an integral part of my life and my whole career. I started off doing videos with Ice Cube and Dre and Mary J. Blige and TLC.
If I were to do a movie about Apollo 13, I'd be at NASA studying what it took to go into space. It's part of your job to go deep, to interview the right people.
I take nothing away from my existence in the 'hood, because it sharpened my instincts. We had a different way of living that developed our survival instincts, and I use those to this day when I make films. You can't buy that.
I don't have a typical filmmaker background. I didn't grow up with a super eight camera or a video camera. I didn't start cutting movies when I was four or five.
Why did I want to become a director? I just had an early interest. My uncle was an actor in a local community theatre, and he ultimately persuaded me and a buddy of mine to come to that theatre, and we went to meet girls, and that turned into interested in kind of behind-the-scenes things, and from that point on, I was focused.
I know a lot of people who enjoy rap music who aren't black. You can't just say it's black music. To segregate films the way Hollywood likes to segregate films, ultimately everyone loses.
Most of music videos were short films - they had dialogue, action sequences. I shot with cranes and helicopters. I wanted to created cinema-like moments.
I was a little hesitant at first because there's so many ways you can get 'Straight Outta Compton' wrong. You know, it's such a great story; it's such a classic tale. I was a little nervous 'cause it's like a very narrow road to success with that type of story - you got to get it right - but when I read it, I was pleasantly surprised.
What do I bring to a film? I think, maybe, I know for a fact that I focus on connection of character; I focus on warmth and a heart, but I don't know if it's because I'm African American or because I'm crazy -who knows.
Everybody comes to film differently; everybody has different backgrounds. Just find whatever your lane is naturally. Don't try to force yourself into someone else's vision or try to tell a story that you're not passionate about.
I remember where I was when I first heard 'Boyz N The Hood' - 126th Street and Normandy, South Central, Los Angeles. I remember that I was on my porch. What they described in that song was so vivid and so clear to me because it was the kind of life I was used to witnessing and partly experiencing in my neighborhood.
I knew that in Hollywood they tend to pigeonhole talent, and when you experience a little success in one genre, their instinct is to keep you in that box.
You have to enjoy yourself when you go to the movies. People don't want to spend their hard earned money to simply go see a history lesson.
I actually didn't really start to get into the research of film until I was much older. I decided I wanted to direct a lot earlier than I started to do the research, which is really strange, but it is the case.
I love a challenge. So when I did 'Friday,' I didn't want to do another comedy back-to-back. With 'Set It Off,' that was a little different from 'The Negotiator' and 'The Italian Job.' So for me, it's all about challenge. It's all about challenge and about just learning.
'Straight Outta Compton' is my first biopic, my first period piece, and I got a chance to kind of get out there like some of my idols, you know, like Scorsese, Spielberg, Spike Lee, the guys who came before me. You know, I'm feeling good about it.
Success is really about your mindset.
I was doing well in TV as a freelance cameraman, but it wasn't the direction I wanted to go in. I directed videos and tried to put something cinematic in every one. Dialogue, action sequences, helicopter, Steadicam.
We didn't have much money growing up, so we hopped around L.A. a lot in the '70s, '80s and '90s. I'm very familiar with the shifting culture there.
When you start directing movies at the age of 24, you're just a kid; you don't necessarily even have the experiences to add to the story. You're working off of instinct and raw emotions and raw talent, and hopefully it's the same trajectory as growing as a person.
When you look at someone good like J.J. Abrams who gives you the spectacle and great action set pieces but also gives you character and great story and plotting and narrative, I think it's my job - and my intention - to do both.
I never limit myself when it comes to telling stories; I think people can see that in my body of work. It's just about, 'What's a great story? Is it unique? Is it a challenge?'
No matter where you came from, you can be inspired.
I taught a master class in film in France, and that was a great experience because I got a chance to study the French film culture and the French film history, so to add... just to expand myself just personally and professionally was really helpful.
I'm single-minded. When I'm working on a project, all my attention is there.
