Joseph McGinty Nichol (born August 9, 1968), known mononymously as McG, is an American director, producer, and former record producer.
Kids don't even know what it means that you have to watch a show on Thursday night at 9 o'clock, on any given network. You just put it on your DVR, or queue it up on your computer, and it's an on-demand and instant access world.
I love different kinds of movies, and I love different kinds of people. That's the spice of life.
Sometimes you do things that are fundamentally built to touch the world, and you feel good when you're successful doing it, and you're disappeared when the world fails to respond, which also happens.
I do my best when I'm surrounded by women. I enjoyed that on the Charlie's Angels experience.
If you look at what Ben Affleck has gone on to do, as an actor and as a director, it's extraordinary. But if you look back at his career, I don't think it's surprising. From Good Will Hunting on down, the guy is a monster talent, and I think talent wins out, in the end. There's always the ebb and flow of any career, but I think talent wins out, in the end.
I felt a particular attachment, naturally, to the Superman character and really dug deep, but at the same time, I am a passionate fan, be it Star Wars, be it the entire Marvel catalog, be it the DC catalog, or the original thinking at Pixar. I'm a fan first, so I'm always curious to see the way people express themselves and how it's being done.
What's better these days, television or film? It's a dead heat. In fact, one could argue for television with more regularity.
Sometimes when you have an abundance of time and money, it's less conducive to the creative process. I like the urgency of the television schedule and the television price point. It's fluid. You figure it out on the day, and I love the challenge of problem-solving.
I just think we live in a world where people are so excited about the hot new thing, but you can't necessarily tell a story in one movie. With this platform, we can really dive deep and go for it.
I like youth, and I like stories about feeling things intensely and about transitional moments in human life. I reflect on my life and that's just a moment when I felt things probably the most intensely.
I just think it's ridiculous to be dogmatic and be caught in the past. You have to be open, aware, nimble and flexible about changes in the world.
Sometimes you do things for personal reasons. I made a very personal movie in We Are Marshall. I was afraid of flying, for a long time, and that's a movie about a plane crash.
When you're a kid going on being an adult, everything radiates so deeply and resonates so passionately, and I like the opportunity to tell those stories.
If you look at Hollywood today, compared to five years ago, 10 years ago, 20 years ago or 30 years ago, the change from moment to moment has always been extraordinary. It never stops moving.
When you're a producer or director, there's so much sweat that goes into any given project.
Actors can make five movies a year. A director can make one movie, every two years. It's a whole different level of commitment and of sweat equity, and therefore there's a direct correlation to passion.
It's really fun to create something that touches the world.
For me, casting is critical. It's nice that social media and the passionate fans really corroborated choices and embraced kids to be characters.
It's a world creation show [Shadowhunters], so we've gotta work hard in the physical production capacity with the visual effects, the sets and everything. It's not just the real world with two people chatting in a diner. That's tough on a television budget.
You set up the look, the visual effects and the sets, and that's awesome, but I enjoy the casting most of all. That's where you really get to define the show.