Quotes of All Topics . Occasions . Authors
I always choose my projects for the script or what the director want to tell with that story. And if I like the story.
Things come out of nowhere, and you start evaluating the director, the cast, and all those other things going into it.
There are a few directors around who I have some excitement about spending my $7 at the theatre watching their movies.
There are times when you work with directors on set, and things are a bit rudderless, and those can be good directors.
It would be horrible to be micro-managed! I don't think directors can really micro-manage people. It's just impossible.
I love the Japanese director Shohei Imamura. His masterpiece in 1979 called, the English title was 'Vengeance is Mine'.
I write mostly as a director. That's why my screenplays are very detailed. So I get into the images I see. I like that.
You know I want to be a director, but you could never truly see the movies in my head and that, Ed, is why we broke up.
I wanted to trust in my partners and the directors and producers and do the best I can to deliver what I could deliver.
The casting directors that were aware of 'The Real World' looked at me as a joke. It was so hard to get away from that.
In every shoot, between the actor and the director there is manipulation. I'm not saying that negatively. It's healthy.
I cherish each director that I have. I want to be maneuvered out of my comfort zones. I don't have the time to prepare.
Of all the projects I've worked on, I've never worked with another director like Billy Friedkin. I think he's a genius.
I can make a better living as an actor than I can as a director. Though I certainly would prefer to be directing movies.
It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.
I think directors can become overly infatuated by gilt and gold, and the word "lavish" and everything being magnificent.
I want to do literally everything. I think I was gifted... I inherited one of the best comedy visionaries as a director.
As a director you want to have actors, not only surpassing themselves, but also going somewhere, going different places.
The director sent for me for Tarzan. I climbed the tree and walked out on a limb. The next day I was told I was an actor
When you see the films of certain young directors, you get the impression that film history begins for them around 1980.
Throughout whatever I do, I always just say "Director" first. I am directing the storylines and I'm creating what it is.
You don't really audition for Hamlet; Hamlet is one of those roles that a director or producer decides you should do it.
It's always a good collaboration between the actor and the writer and the director to try stuff out, during the process.
I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter.
[ Gareth Edwards] never wanted to force anything that wasn't true. He's very much an actor's director, and it was loose.
If you have the right actors and you can give them the freedom to explore, you've done a lot of your work as a director.
I've wanted to work with [Kairo aka Pulse director] Kiyoshi Kurosawa, but he has not been making horror movies recently.
I would've been intrigued by being a film director. I would've been intrigued by politics. I thought about architecture.
Sometimes you can't even find the director on a movie set. Sometimes you don't want to find the director on a movie set.
It's kind of interesting to be a director who is all of a sudden being an actor playing an agent. This is my whole world!
Whenever I'm offered something, I always read the script and meet the director. I still appreciate just being considered.
A lot of times passion projects or films are difficult to make because they don't have proven directors attached to them.
I was meeting a lot of directors and reading scripts, and I was like, "Well, I'd love to play this part," but I couldn't.
I'm not the kind of actor that gets crazy with [directors'] names, what draws me toward a project is the material itself.
I think that I just need to work with great directors and actors, people who are better than me, so that I am challenged.
David Cronenberg is the most provocative, original, and consistently excellent North American director of his generation.
The directors you trust the most are the ones, when you ask them a question, they've got the guts to say, 'I don't know.'
I have always been a great fan of Peter Chan and many other great directors who specialize in anything outside of action.
Each one of my films is personal; each one of my films is emotionally autobiographical. And I like directors who do that.
I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.
I think most directors subscribe to the principle that less is more, and the best direction is the most concise direction.
I was rejected by casting directors during the day. I attended class in the evening, then rode 90 miles on the train home.
Some directors involve waiting, and if you want to work with that particular director you're going to have to hang around.
I can rely on me [being a director], unlike some actors. I never got anything less than what I needed from the lead actor.
All the actors I've worked with as a director over the years I really love and I thought they were all right for the part.
From a director's point of view, if I can create different characters which impress the audience, that's fantastic for me.
Theater is a lot more interactive, more of a cohesive unit. With television, it can be a different director every episode.
I couldn't be a cameraman or a designer or an actor - I have to be a director because I learned how to do that from my dad.
As a director, I also get to sit and watch actors and learn from them in a way that I don't get to do when I'm just acting.
I love working with women - I love women - and we need more women directors. We need more feminine sensibilities in movies.