Quotes of All Topics . Occasions . Authors
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.
In Kurdistan, theres a lot of hardship - a lot of wars, a lot of bitter and difficult lifestyles. And witnessing all those made me a director.
You have to get it in your brain that you don't belong to yourself as an actor, but that you belong to the director who creates the character.
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.
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.
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 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.
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 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.
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.
If you talk about big trends at Disney, these movies generally are generated by directors or directorial teams pitching ideas to John Lasseter.
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.
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.
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.
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.
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 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.
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 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.
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.
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.
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.
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.
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.
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.
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.
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'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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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?
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'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.
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.
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.
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.
The film director, in many instances, has to swallow somebody else's decision about the final form of something. It's so hard as to be intolerable.
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.
I'm not a famous director yet, and I'm not into fame. I like to just work. As a director, as an actor, whatever people consider me is fine with me.
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.