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The “Happy Days” star does not expect that her daughter will get her out of nepotism. “If I’m not right about something, absolutely right, it doesn’t happen,” he said.

Before winning an Oscar for “A Beautiful Mind” and directing the classics “Apollo 13” and “Cocoon,” Ron Howard was one of America’s most popular screen actors. Beginning his career as a child star on “The Andy Griffith Show,” he became a household name in the 1970s for his roles in “Happy Days” and “American Graffiti.”

But over the years he’s mostly spent his time working behind the camera (with the exception of a memorable stint as the narrator of Arrested Development). And in a new interview with Variety , Howard revealed that he would only return to acting if his daughter, Bryce Dallas Howard, directed him.

“That would probably be Bryce,” Howard said. “Probably Bryce would point something out and say, “Dad, I really need you to step in and do this,” or “You should.” Any of those will probably get me in the makeup chair and in front of the camera.”

That said, Howard doesn’t hold out hope that his daughter will choose him anytime soon. Having seen him demonstrate his directing skills on The Mandalorian and The Book of Boba Fett, Howard knows he’s not the kind of filmmaker he’s shooting for nepotism.

“He’s very nimble and meticulous,” she said. “So unless I’m right about something, absolutely right, it’s not happening.”

Howard doesn’t seem worried about that, though, as he has a thriving directing career to keep him busy. He recently appeared on IndieWire’s Consider This FYC Brunch to discuss the meticulous planning that went into the 2018 re-creation of Tam Luang’s cave rescue in his latest film, Thirteen Lives .

“My whole interest in this was to understand what it was like to be there, on a personal, specific level,” Howard said. “It was to use a lot of these POV shots and keep hooking you up. So, different scenes will be associated with different characters and it will be a different kind of test and challenge. And of course the cave was moving and the water had to be a character. From both a visual and sound design point of view, it was important to keep changing it.”

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