Quotes of All Topics . Occasions . Authors
The thing I love about acting is that it's got nothing to do with me; it's about bringing forth a director's vision. It's like a release. I'm glad it's come back into my life.
It happens a lot, but I also think of it as not so much like being abandoned by a director 'cause they're worried about a technical aspect, but I think actually that's my job.
When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like youre in the way.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
I still write. I'd love to write more trashy chick-lit. At the moment, I just re-write my own lines, which probably annoys most directors - though, thankfully not Adam Brooks!
[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.
I look at the script first and who's directing it and then talk to the director to find out what his vision of the movie is and if it matches my vision and then we go after it.
The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.
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.
It's pretty clear to me that working as a director for hire agrees with me. I like it. The films that have come out of that, I personally like better than the ones that didn't.
Emil's [Nava], the video director. Originally, I was meant to do all the stuff that the puppet was doing. I just wasn't that comfortable with doing it, so he had a puppet made.
I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.
Every single time when you act in a film, and there's a different director, which of course as actors we're used to experiencing that's what we do, it's a different experience.
As a director/writer/producer, all you ever want is to work with actors who make you look better, who make the work you do seem as good as it can be and even better than it is.
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.
I don't think Hollywood makes many good films anymore. How many directors can you really trust to have an artistic vision, not a corporate vision or a watered-down communal one?
Sometimes, with directors, you have to take what they say and translate it in your head, into something that makes sense to you, because you're speaking two different languages.
Every single director-actor I talked to, from Warren Beatty to Clint Eastwood to George Clooney, said the biggest mistake they made is not shooting enough footage of themselves.
Honestly, I look at the project and I look at the people attached and I look at the director. If it's a role that I feel will help me, as an actor, then I'll definitely take it.
Granted, the writers, directors, producers, and that community make a great deal of money. But they might be choosing to do a whole lot of other things for the living they make.
Bad directors will tell you they absolutely know how to do it, and how it has to happen; there's this insecurity that leads them to feeling like they have to control everything.
I take it very seriously, music. I think it's one of the tools that a director has with which to kind of paint. The right music can sometimes do five pages of scripted dialogue.
I've actually been given a great gift. When I walk into an audition with a director, I'm carrying no baggage. They haven't seen me in anything, even though I've done nine films.
In the '90s, indie movies could get financing, because financers gave money straight to directors... Now it's a different system. Indie movies got co-opted by the studio system.
If you're creative, they let you be the showrunner, producer. The first thing my partner and I did as producers was hire ourselves as directors - because who else would hire me?
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
I'd never really done comedy before Community, so getting to work day in and day out with all these great people, directors, writers, and actors, I feel like I've learned a lot.
I believe young female directors in particular should always remind themselves of the truths of their own stories and not let outsiders influence the authenticity of their films.
You will never see'Altman's Great Film of the Seventies: The Director's Cut' because you have never seen a film of mine that wasn't the director's cut. I have never permitted it.
You hope and pray that you'll get involved with a director that you understand and who has the same sensibility as you do and knows how to push you and bring out the best in you.
All film directors, whether famous or obscure, regard themselves as misunderstood or underrated. Because of that, they all lie. They're obliged to overstate their own importance.
You risk working with this director, you risk making this movie, you risk working with another actor you don't know. It makes your heart beat faster. And it keeps you interested.
The director's in charge of every single decision [in film]. It's a dictatorship.It's a benevolent dictatorship, but it's true. It's every single shot. There's nothing arbitrary.
It's either because of the number of times the scholar puts the boot into Peter Jackson the director of The Lord of the Rings films or is making a point they have never heard of.
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.
If Quentin Tarantino is your writer-director then you're going to learn the words and your gonna learn why they're the words. You're gonna learn why they're the best words to say.
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.
I can't imagine any director directing a screenplay of mine, because the great directors all have very personal styles, and the ones that don't are not very interesting directors.
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.
I read every screenplay that was being sent to the other directors. None were being sent to me, but I was reading what others were choosing and what the best writers were writing.
Sometimes directors will hire you and say, 'Oh, we love your work.' And then they start to tell you how to do it. I say, 'Hey, man, back off. You hired me to do it. Let me do it.'
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.
On working with director Werner Herzog: I have to shoot without any breaks. I yell at Herzog and hit him. I have to fight for every sequence. I wish Herzog would catch the plague.
I love so many directors. I love David O. Russell. I love David Fincher, I love Alexander Payne and Jane Campion and my aunt. Spike Jonze. There are just so many amazing directors.
Not many French producers work the American way. In France, the director decides everything, he has final cut. I'm trying to do things differently, without the Luc Besson solution.
I'd love to direct a film, but I don't think I have the temperament for it. I'm very hyper, and I want things to be done ASAP. If I turn director, I might end up killing my actors.
I do like being surprised by directors and producers and being offered parts I would never have considered, including parts that aren't necessarily obvious but which would test me.
If someone suddenly lost their director the day before shooting and wanted me to step in, I'd be willing to. But I'd do brain surgery the same way. I'm always up for something new.
I can't stand directors who try to micro-manage everything. When it happens these days I just walk off set, saying if they don't like the way I'm doing it they can get someone else.
Like any creative human being, I would like a bit more control so that it would be a little easier for me when the director says, 'One tear, right now,' that one tear would pop out.