Quotes of All Topics . Occasions . Authors
When an actor plays a scene exactly the way a director orders, it isn't acting. It's following instructions. Anyone with the physical qualifications can do that.
I've always thought Ed Burns was a profoundly underrated actor. He's a great director, obviously. A great director/writer. But I think he's a stunning actor, too.
Things were so unpredictable in Comey's first meeting with President-elect Trump, the former FBI director immediately took notes in his car after the interaction.
I'm never happy with the work I put in. No. I need to be told by my director and people around me that it is fine. Otherwise, I'll even go, like, 'One more take.'
My interests were aroused, and my faith in the cliches of the subject destroyed, as so often with other subjects, by the discussions with my friend, Aaron Director.
The director took my face in his hands and asked me to show him my teeth, as with a horse. This happened on a Wednesday, and by the following Monday I was shooting.
If you're a casting director, you're going to be curious to see what Timothy Spall's son is like. But when you get in the door, you have to have something to offer.
What I think happens, and that you have to acknowledge though, is that a director uses a book as a launching pad for his own work and that's always very flattering.
I want to be a director - and you need to get out there and do it, you can't wait 'til it comes to you... I'd give anything to be able to do what Ron Howard's done.
I seemed to belong to three countries: I had an apartment in Paris, a house in Hollywood, and when I married British theater director Peter Hall, I moved to London.
I often compare putting a hotel together to old-time movie production. You come up with a story line, you hire the writer, the director, the stars, the set designer.
An actor is only a part of the film, not the whole, and very often, he is moulded by the director. That is why a good director can make so much difference to a film.
It will be hard work. It's always hard work, and hard work from everybody within the team - technical director, mechanics, drivers, engineers - everyone in the team.
Every part I've done has been for one reason or another-money, or the part, or the director, or the location. I'd like to get one thing that's all of those combined.
So I write melodies - thirty, forty, fifty - then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide.
There's people constantly asking you for something on set, so the multi-tasking of motherhood transfers very well to being a director. And I think you're compassionate.
Just to get the basic fundamentals and empathy - I think that's the most important thing to bring to it if you've acted in the past and are now a director: the empathy.
But I don't think of myself as a foreigner or a Frenchman! I just think of myself as a director. Whether I'm French or Australian or whatever, it's really not important.
Murnau is neck to neck with Bergman as my favorite director. He's responsible for some of the best images in cinema of all time, from 'Nosferatu' to 'Faust' to 'Sunset.'
I am not against it if someone does homework or workshops, but I came to the industry without any proper training. So I go according to what the director narrates to me.
I produce the way I would love to be produced: In ways to create the best conditions to make your movie, but also to create a space in which the director calls the shots.
I've stood up to producers before, and even a director. I saw them being abusive. A lot of people on the set are scared to say stuff when they're not being treated right.
When I was a kid it was much more difficult. You're trying to understand what the director wants. It's a learning process. Now, you go in and it's more of a collaboration.
I go into a young film director's office these days and he says, 'Hey man, I know who you are. I grew up watching 'McHale's Navy'. And I think, 'Oh boy, here we go again'.
When you're a director, and you look at Scorsese's work, he's always challenging us to push the envelope and break the rules. Someone like that is necessary and a godsend.
I think each character is different for me, but I am a director's actor. So if I get the right vision and right guidance from my director, I think sky is the limit for me.
I think movies are a director's medium in the end. Theater is the actor's medium. Theater is fast, and enjoyable, and truly rewarding. I believe in great live performance.
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
Be extremely subtle, even to the point of formlessness. Be extremely mysterious, even to the point of soundlessness. Thereby you can be the director of the opponent's fate.
In Dreams... well, I was slightly overcompensating with that. I was a bit like a director for hire, so maybe I was putting too much imagery that was familiar to me into it.
Now, I have big-money offers on three movies, and I have director approval. That's kind of scary,' he says. 'No directors have been attached. That's a lot of pressure on me.
My guess is that if they now choose to change of director for every other film, it's just because you can't really change the formula, you can merely try to film it your way.
I was a VP of marketing, I was regional sales manager in fashion, and marketing director in communications and product development. I was always a corporate Fortune 500 girl.
Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.
Nina Gold is a fantastic casting director. She's doing the new 'Star Wars' movies, but she also does 'Game of Thrones' and many of the Working Title movies, and she did 'Rush.'
When I was very young I wanted to be a professional horseback rider. Then I wanted to be a pop singer. Then I wanted to be a psychiatrist. Then I wanted to be a movie director.
I was offered and accepted a part in 'A Few Best Men,' and then the Australian actor's union argued that there were too many British actors. And the director decided to lose me.
As a director, I think it is important to keep a space between yourself and your film. It's like you are in the movie, but at the same time you are watching it from the outside.
I don't watch many films. I just make sure my directors are really good. I will work even with a debut director, but the one-hour narration of the script should be mind-blowing.
I realized that I need to protect my films because the director will move on, the producer will move on too, but as an actor I will be considered a flop if things will not work.
I couldn't be a director because I couldn't put up with the actors. I don't have the patience. Why, I'd probably kill the actors. Not to mention some of the beautiful actresses.
My first soldier role was in 'Flags of Our Fathers.' Casting director Jay Binder saw that movie and was looking for soldiers for 'Journey's End,' which led to 'Generation Kill.'
Because we're Jewish, my father immigrated to Holland in 1933, where he became the managing director of the Dutch Opekta Company, which manufactures products used in making jam.
I think one of the major things a director has to do is to know his subject matter, the subject matter of his script, know the truth and the reality of it. That's very important.
I would love to get great performances from actors as a director, because that's what I'm always looking for, a director that's going to help me go places I've never been before.
It's cool for me because I'm a director, but I'm also a teacher. I'm a lover of cinema, and I love working with people who are hungry and have the energy to really do better work.
I still can't quite believe it. Although there was something about the fact that it was a first-time writer, a first-time producer, and a first-time director all at the same time.
Egotism is not a good quality. It's not something to be admired or even tolerated. It wouldn't be tolerated in a field commander and it shouldn't be tolerated in a movie director.
Jon Scoffield was an incredible director and producer at ATV. I met him when I was 30 and he made great things happen in my career. He's still alive, but we're no longer in touch.
When I work, I work very hard. So I look to work with people who have that level of dedication. And I depend on that from everyone. From the director to my crews that I work with.