It’s been exciting to be able to go forward with stuff without 10,000 people saying, It should be like this. Stephen Hopkins Read Quote
I directed 24’s pilot. I felt we should follow the characters around as if we were a documentary crew, using available light, hand-held cameras, split screens, sound that isn’t always what it should be, to suit the reality of the premise. Stephen Hopkins Read Quote
I had no special effects, no monsters running around, nothing blew up; those things are all things I’ve done so many times that they lose their allure after a while. Stephen Hopkins Read Quote
Each environment has its own signature. Sound tells a story: You make choices about what you’re hearing, where to look, how you want to feel about what’s going on. Stephen Hopkins Read Quote
Because of all the concurrent stories going in 24 and its fast pace, it can be complicated in terms of the story, so I thought sound could help with the storytelling. Stephen Hopkins Read Quote
24 isn’t like other shows, where you set the look once and you’re done. The show started at midnight, then moved to a pre-dawn look, and now we’re at dawn and we’re warming up the day. Stephen Hopkins Read Quote
To be able to rely completely on the actors was a very simple process for me. Stephen Hopkins Read Quote
When I was thinking of casting this, I thought, What roles would Sellers be playing now? Stephen Hopkins Read Quote
