Quotes of All Topics . Occasions . Authors
I always used to associate good directors as being ones who are totally extreme and have an answer for everything and there are no loose ends.
I like directors that give their composer a juicy role in their films. Some films have a small, minor role for music, some have a larger role.
I always feel that if you put me in a room with a director and a writer and let me talk about the script, I can give a good account of myself.
The beautiful thing about it is that no two directors or actors work the same way. You also learn not to be afraid of discussion and conflict.
I have worked with a lot of great directors but my favorites are all entirely different from one another. They don't go about it the same way.
When you do a movie, it's like going on a journey. It's really like the director is the captain of the ship, and that energy, everybody feels.
Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.
I didn't just see myself as a film director here [in Life And Nothing More], but also as an observer of people who had been condemned to death.
I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.
As an actor, you're a color of paint on someone else's palette. But as a director, it's your canvas and you make the painting you want to make.
How many movies do you see when you can say this director really knew what film he wanted to make? I can count them on the fingers of one hand.
I think filmmaking should be a wonderfully free collaborative process, and it so very rarely is. I often see directors as jailers of my talent.
In film school, I knew I wanted to be a director, but I found out pretty damn quickly that nobody was just going to hand me a script to direct.
I've worked with Steven Spielberg three times. I'm proud to say that I'm one of those actors that continues to get hired by the same directors.
If you talk about big trends at Disney, these movies generally are generated by directors or directorial teams pitching ideas to John Lasseter.
I would love to have a part opposite a great actor - like, say, Pacino or De Niro or Hoffman. And to work with a top director. That's my dream.
I'd say I got three or four offers for films that had female directors, so in my career I haven't had that opportunity before. That's exciting.
I love being on set, because I've basically grown up on a set. And now I love to contribute as a director and help steer the ship, if you will.
I don't blame any director for wanting to do something more commercial. That's all part of the business. I certainly have done it, as an actor.
He was such a fabulous drama coach. What better person to have than Alfred Hitchcock? His work as a director was impeccable. I learned so much.
Work very very hard. This business is no joke. Make sure you know what you want or you might be taking someone else's view instead of your own.
I am very happy that I am getting to play such layered and demanding characters. I feel blessed that directors are trusting me with such roles.
On stage, the audience watches from a fixed viewpoint and the director cannot retake something he doesn't like. It has to work straight through.
I think when you have some success as a kid, your notion of being a good actor is pleasing the director, doing exactly what they tell you to do.
There are directors that I want to work with and that I admire. You can love a script, but if it doesn't have a good director, it won't be that.
The architect is not only the director, but he is the composer. And, as a composer, the architect brings a sense of creativity to each building.
When you work with someone you don't quite know, you have to figure the director out and you can come up with ideas that are counter-productive.
The thing is, I think as a director or a writer or whatever, you have to have a vision. And you have to be maybe sometimes too early, somewhere.
I have a lot of respect for people who are great at ad-libbing, and for writers and directors who are able to create a scene in which that works.
I'm not really a full-time director, I just like to direct the things that I write because I think I'm going to know it better than someone else.
What I like in pictures whether by an old director or a young director is when I have the feeling he or she is really using the capacity of film.
Oh, well, in Los Angeles everybody is an actor, or a producer, or a writer, or a director, or an agent, or... So everybody understands the hours.
As an actor, when you walk into a room to audition, you get five minutes with a casting director, who doesn't even look at you, most of the time.
Many casting directors won't hire aspiring actors because you might be burning some chick's headshot under the table so she doesn't get the part.
As a director, I really wanted to learn and I needed to get away from my own stuff to figure out how to just do things and work with good people.
Saying directors don't write because they don't type is very wrong, it's like saying Dylan doesn't write music because he doesn't write notation.
Frank Miller is more of a visionary than any director I've ever worked with, and he achieves that vision better than anyone I've ever worked with.
I'm like a movie director, so wherever I feel that I need to go over this type of beat, that's what I'm going to do, that's where I'm going to go.
Whenever I really want a part, I'm not sure what to do. How do I let the director know how obsessed I am and willing to do anything for the movie?
Be collaborative. I've had some of my best experiences with directors who were able to sit down and have a conversation and ask me what I thought.
Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.
Directing, I just feel comfortable. I know what I want. I know what I want from my crew. I lead by example. I have limitless energy as a director.
I've always just wanted to tell stories, and create stuff, and I think "Creator" or "Director" would probably be the two words that I go to first.
I've wanted to make movies for so long. I learned most of what I know from director commentaries and behind the scenes featurettes and criterions.
I think with the smaller-scale projects, the burden for success falls more squarely on the shoulders of the actors and the director and the script.
My distinguishing talent is the ability to put people under the microscope, perhaps to go one or two layers farther down than some other directors.
I do feel there's certainly some films where you can feel that the directors don't care about the genre and they don't care about their characters.
It's important for me to work with a strong director because I know I can go to some really deep places, I just need direction on how to get there.
As a means of supporting experiential element in film, once I begin to work on a particular movie I consider myself to be the tool of the director.
I almost became a music major, but somehow I was so enthralled with the camera and becoming a director that I stuck with film school and theatrics.