- I'm on your side. - Are you?
- [Saul] I am.
- Ma'am, we're gonna need to search you.
- Back off!
- [Cameron] How does something like "Homeland"
become this constant for you.
Like, why did you keep coming back to it
or why they keep coming back to you?
- You know, that's a great question
because you know, I, as a director, I think,
I love directing in all different genres.
But what kept me invested in "Homeland"
is the fact that we constantly change,
that we're constantly reinventing.
And I love stories that have a big political view
and very powerful characters,
so that kind of juxtaposition
between the macro and the micro.
I love that we go and spend a week
meeting with the intelligence community.
And that the question being asked is,
"What's your deepest fear?
"What keeps you up at night?"
And that's where Alex and Howard and the writers
go into the writer's room
and come up with the narrative of the season.
That is really thrilling to me,
to be at the cutting edge of that.
It doesn't happen that many times in a career,
where you get the right combination
of incredible writing and provocative, challenging work
and such nice people.
We all like each other so much.
- [Cameron] The constants, of course,
being Claire Danes and Mandy Patinkin.
What has it meant to be working alongside them
all this time?
- I mean, you're working with the best of the best;
and also, amazingly wonderful human beings.
But these are my partners in crime.
And again, they will go anywhere necessary,
you know, however deep they have to dig,
they are there to do the work.
And I think having such a complex female character
that's so layered and now, iconic in that way.
- [Suki-Rose] You choreographed "To Live and Die in L.A."
- Yes, isn't that crazy?
- [Suki-Rose] It's wild.
So I'm curious about your journey
from choreographer to director
and how those skills all played in together
to become one thing.
- So, I was, going way back into the Dark Ages,
I was a modern dancer and a choreographer.
I was based in Tokyo, Japan.
I wanted a cup of coffee one day
and there were two coffee shops,
right in front of me, in Shubuyaku.
And I sat down with this guy
and he turned out to be an extraordinary person
who spoke 12 languages, perfect King's English.
And ended up, three years later, not in that moment,
telling me, he became like my mentor,
but he told me a series of stories
that I had to pass on and I knew it wasn't dance.
So, that is the only reason I ever directed
because I was told these stories
and I knew I had to do something with them.
They were that powerful.
So that's what I made my first film about.
So I came in with choreography,
but then I had so many other colors
I needed to put in that paint box.
And that's what the process has been.
And you know, the thing that's so great
about directing and being a storyteller
is that you're always learning,
no matter how much you've been doing it.
Each time I start something new,
it's like I'm starting all over again.
- [Cameron] Every time you take an episode on,
from a new show, that's a whole new learning experience?
- Oh, always.
- [Cameron] Have there any that really stand out
in your mind as especially surreal,
or overwhelming maybe, in a good way,
that just felt like a whole new world,
when you started working on the episode?
- You know, like almost every world you walk into,
is a whole new world
and you have to immerse yourself in that world,
whether it's "Mad Men", or whether it's "West Wing",
or "Justified", or "Walking Dead".
And even like, look at "Freaks and Geeks",
that was like almost re-remembering one's own childhood
and growing up and connecting with that,
in terms of servicing the storytelling.
- [Cameron] Speaking of remembering your own childhood,
I wanted to bring up "Now and Then", of course.
I've been hearing about it a lot more recently,
and I think it's because you are having the people
that grew up with it, having kids of their own--
- Totally. - maybe showing them.
Has it been reflected back to you in any surprising way,
has it come back around?
- You know, it's so interesting
'cause when we made that film,
I felt really compelled to tell the story
about what it was like growing up a girl.
And there were no images of that whatsoever.
There had been all these stories about growing up as a boy
and I felt like I really wanted
to make something that reflected what is similar,
'cause there's obviously a lot that's similar,
but also what's different.
And that summer that everything changes
and you will never be the same again.
And that was kinda the motivation behind that.
And I love that people hold that film in their hearts
in some way and that's an incredible thing.
You don't know what people are gonna think 25 years later,
but a lot of people grew up on it.
And I think that it still resonates in some way.
- [Cameron] Did it feel like an uphill battle then?
To get that made?
- Yeah, it was, though you know,
everyone on board was really committed to getting it made.
So you know, we did get it made.
And it did well,
but it wasn't critically regarded at the time.
I mean, some people liked it, but in general,
that's exactly the response that you're saying
is what the response was.
But I think young girls going to see that movie
and going with their mothers
and having that experience has sustained it.
- [Cameron] Yeah, the people that needed to see it found it.
- They found it, yes, and it seems to last.
Like, last year, everyone got together again
because it was screened at the Hollywood Cemetery.
And that was kind of incredible
and it was like the largest screening they had had.
And I hadn't seen the film in years,
'cause I don't go back and look at things
after they're done and it was just like oh, my God!
The impact, it was palpable
and it was really amazing to see it again
after all this time.
- [Samantha Voiceover] I've spent my entire adult life
trying to recapture the way I felt the summer of 1970.
(Jackson Five's "One More Chance")
- Hey Kenny, where's the fire?
- Softball game, Kennels Field.
- It's gonna be all boys.
- [Teeny] So what are we waiting for?
(Wormer brothers screaming and playing)
- [Samantha Voiceover] That was the summer
when everything started to change.
- When I started directing,
I was always pulled to material and not the format,
and because my first directing jobs,
the first one was for Steven Spielberg.
How lucky is that?
So there was never a sense that TV
should not be visual storytelling.
What I think you do have to do in TV,
is you have to know what the dollar scene is,
and what the 25 cent scene is.
So if you have to move quickly,
you better know what your story's about.
But you still need to have a visual storytelling palette.
And then the next director
I worked for was David Lynch on "Twin Peaks".
And so I never looked at it as a lesser medium.
I love the fact that now, look at some of the best work,
it's all happening in TV.
Not that they're not good movies being made,
but you know, I don't think anyone is saying,
"Oh look at how different this is."
I think now, it's just storytelling.
I'm already starting on a new project,
which I'm very excited about.
I'm actually working with a writer
who was on "Homeland" for the first five seasons,
who created "Cold Case" and created "The Bridge",
whose name is Meredith Stiehm.
And you probably know that the "Homeland" writers room,
certainly in the beginning, was all showrunners,
so that's just extraordinary that that happened.
So Meredith and I, when we were in
one of our yearly intelligence briefings in D.C.,
a man named Juan Zarate from Treasury,
talked to us about terrorist financing
and following the money.
So, riffing off of that, we kind of looked at each other,
"Ooh, that's very interesting."
So we're doing a series, eight part series, for Amazon.
I will direct all eight, she is writing all eight.
Based on a novel called "The Banker's Wife",
which is about the banks that do business with terrorists
and dictators and money launderers and drug runners
and all sorts of nefarious folk.
So, really exciting to be looking at that.
(intense, dramatic music)
- [Carrie Voiceover] No more about my loyalty.
♪ Hold your breath ♪
- [Carrie Voiceover] I did what had to be done.