Quotes of All Topics . Occasions . Authors
I think if I were asked to do as many as fifty takes, I would assume the director had no idea what he wanted, and was just hoping, eventually, to see it.
I want to be an author/director and I'm writing my second book now and I want to make a movie of it, and I hope I get to do this for the rest of my life.
When I took the job as Estée Lauder's creative director, the first thing I did was go into the archives! I love taking our heritage and making it modern.
I acted for so many years and sat on a million sets and worked with a million different directors so that is to me some of the best training you can get.
Editing is not merely a method of the junction of separate scenes or pieces, but is a method that controls the 'psychological guidance' of the spectator.
Some directors are comfortable with music. Some feel comfortable discussing and talking and operating in a musical language. Others don't engage so much.
I'm not intimidated by other actors at all - or directors. I don't care who they are. But I am intimidated by writers. I hold them in the highest esteem.
[Donald Trump] has confidence in Director [James] Comey. We have had a great relationship with him over the last several weeks. He's extremely competent.
I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.
I think of myself as a problem-solver. I want to go in and help the director and the writer to get the best they can out of the text they're working with.
Deb Zane, our casting director on the Hunger Games was very sanguine, from the beginning, about just blocking out what everybody else says that they want.
I don't believe in director's cuts and I also don't really believe in deleted scenes because the movie that is in theaters, that's what the director made.
On set I keep myself to myself; I'd rather the director speak up. I'm not gonna direct a younger actor. I think the power of example works best, actually.
It was very important to me to choose a director like Gary [Ross], whose instincts come from character, who's a storyteller, and who puts characters first.
I was never nervous directing. Not once. I'm more nervous acting. I'm far more nervous on set, before I say my lines, than I ever have been, as a director.
I'm not being offered a constant stream of wonderful parts with wonderful directors that would keep me away from the theatre. When they turn up, I do them.
And when I have lived elsewhere, every two weeks I have to fly back to LA. Even New York directors go there to audition. So I have to be there to a degree.
I've always said to people that auteurism is nice, but it's hypothetical, and gradually you learn how much or how little influence different directors had.
Most directors prefer to direct everything themselves. I thought I could on Lord Of The Rings, but very quickly found out that the sheer scale prevented it.
In theatre, there's the director, the writer, and below them the actor. In film, it's the actors who are most important. That goes against the grain for me.
I think, a lot of times, directors assume that whatever they get from you the first time, whether it be at an audition or on set, is all that you can bring.
I don't want to know movie directors. I don't want to be close to them. I don't want to interfere with their work. I don't want them to interfere with mine.
Sometimes if you're a director, you want to believe that you're great and capable at all aspects - the technical side, the lights, everything - but I'm not.
To learn bad dialogue is so difficult and so boring, and to work with a stupid director who tells you to do the wrong thing, etcetera, it's just unbearable.
I've always noticed a difference between working with a director and working with a writer/director. In how much they're invested and how specific they are.
My father was a television director and I always knew I wanted to be in the industry but I had thought my role was behind the camera as opposed to in front.
Yeah, the actors really come in as lumps of clay. We're ready to work with the directors and find our way. These guys really come in having done their work.
As a director, or just a film fan who wants to enjoy the festival, Cannes is the worst place to be. But it must be a paradise for distributors and importers.
If [Donald] Trump wins narrowly, Democrats can blame the loss on FBI director James Comey, who inserted himself late in the campaign in an unprecedented way.
Once there are more African Americans and Asian Americans behind the scenes as producers, writers, and directors, I think more inclusive casting will happen.
I fall in love with every film while I'm doing it. I fall in love with the directors, I fall in love with the process. I don't think I could do it otherwise.
I always wanted to direct. Directing is a lot more of a commitment though, a lot more time. I like directors who do very few takes, they know what they want.
I always have directors who are somewhat frustrated because they'll reference a beautifully obscure film from the '50s or '60s or '70s, and I've not seen it.
To allow the market mechanism to be the sole director of the fate of human beings and their natural environment....would result in the demolition of society.
It's fair to say that if you have a lot of experience, your power is greater. You have more of an opportunity to roll up your sleeves with younger directors.
When I worked on Altar Boys, they wanted to see us having fun. The four of us would have fun on set and steal each other's lines, and mess with the director.
I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives.
I found it to be more challenging to be in a huge effects movie, because a lot of the things aren't there.You have to trust the director and react to nothing.
I'm really open to anything that's good. If I read something and it's good, and I like the director, it never really needs to be a specific type of character.
In film producing, there is an inherent tension between the director, the money and the producer, and that's what keeps it flowing and honest and accountable.
The thing about For Better or Worse is the only thing that made me an okay director for that is that I have a sense of humor, and it was supposed to be funny.
Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.
Sometimes directors feel like they have to justify that hat that they are wearing they've got on as a director, and they come in and they tweak and interfere.
When I was in college, my brother, B.R. Chopra, who is everything to me, was a director in Bombay. He taught me filmmaking. What I am today is because of him.
Of course I am a child of European culture. There are a number of great directors from which I learned, but there is nobody in particular I got inspired from.
I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.
And people say it all the time: 'You're a celebrity.' No, I'm an actor. I'm a producer. I'm a director. I'm a toad. I'm roadkill. I'm anything but a celebrity.
If someone were to hire me for a film they'd be getting a certain kind of package, that's for sure, a certain set of tools. But I would listen to the director.
I find it easier to play someone who is so far from me because you create someone - you build this person based on the story and the script, with the director.
OSS 117 and maybe Un Balcon Sur La Mer directed by Nicole Garcia. It's a typical French movie with typical French themes with French actors, a French director.