Quotes of All Topics . Occasions . Authors
I understand the directors much more. I was always rebelling against them when I was a youngster, I didn't want to be told what to do. I had no identification.
I'm all about working with directors that are doing different techniques and I think everyone has their way of getting it to the place that they think is best.
I try to offer as much as I can to the director so he has as much to work with as possible to create the character that, really, he wants to create in a sense.
During my nearly five years as director-general of WHO, high-level policymakers have increasingly recognized that health is central to sustainable development.
I'm always looking for opportunities, even when they're not offered to me. I will have no hesitation to pick up the phone and call a director or call a writer.
Now at my age I understand how sad it must have been for some directors or actors at the time the talkies began. Because, really, a whole continent disappeared.
I got offered to do Ben 10. Sue Blu was the [voice] director of that, and I had worked with her - I think she was on Transformers as well. And she was so great.
Before I go off and direct a movie, I always look at four films. They tend to be The Seven Samurai, Lawrence Of Arabia, It's A Wonderful Life and The Searchers.
I'm always cautious about overstepping any boundaries. At the end of the day, it's a director's medium, and if they don't want to hear from me I just step back.
I'm not tough when it comes to people criticizing the people that I protect, and those are the actors. It makes them scared to do it again for another director.
I think a good director can embrace any genre and it's the kind of thing where you always want to do something different. You always want to challenge yourself.
I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens.
As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.
I do listen to a lot of music. Actually, I very often ask directors if they can offer up a play list. They very often have one anyway that they're listening to.
You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.
There are a lot of female directors in Lebanon but we can't really talk about a true film industry, it's still very small. But we do have a few female directors.
A director recommended me for the role on 'Soap.' They said, 'She plays heavy roles, murderesses and the like.' He said, 'On stage, she could be very very funny.
[Martin Scorsese ] basically works just like any other director. You work the scene, you try to find what's best in it and make it work. That's what it was like.
I do not know if it is true that all actors want to direct and all directors want to act, but in 1972 I tried directing and decided I had better stick to acting.
He [Oliver Stone] is great. I really like working with directors who know what they want and aren't afraid to tell you, "Do it like this. Don't do it like that."
I have worked with another first-time director who was not that open, and it was probably one of the worst experiences I ever had, so my antennas are really out.
The good part of working in TV is it's like being a studio director in old Hollywood and approaching different genres. It's a chance to try out different styles.
Arnold and Jamie Lee must have worked over the years with directors that did 50 takes, because I'd get like three takes or so and say, Ok, that's it, we're done.
I wanted to just surround myself with people who I think are better than I am, whether they're actors or directors or producers, so that I could learn from them.
I hooked up with director Jacques Audiard for this film called 'Rust & Bone' with Marion Cotillard. I loved that experience so much I'm truly sad that it's over!
I stayed in Hamburg a few more days, and during that time I received a visit from Rolf Aldag, the sporting director at T-Mobile. He advised me to tell the truth.
Great directors turn in mediocre work and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know.
The first film is everything you want to say and how you want to say it. Lots of directors will do that and do it really well, but the second film is not so easy.
The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.
That's how I am as a director - if somebody does a really good take, I can't help it, I'm not even aware of it. Actors really, really need positive reinforcement.
It's such an intimate experience, being a director, artistically. It's deep and it's satisfying and it's wonderful, on so many levels, but it's also really scary.
The whole thing with comedy is that you are always in control. Writer, director, actor, producer, and sometimes bouncer. And you are just a piece of their puzzle.
I like to think of myself as a fairly educated human being, but I'm a very uneducated actor when it comes to movies, directors, producers, actors for that matter.
Television is certainly a writers-led medium. They're the ones who are there, they're the ones that are conferencing or whatever, with directors coming and going.
I know that some actors and directors like to have intensity on set. I don't, particularly. Certainly, if they want that, that's fine, but I can't work like that.
You have to have the essential pleasure of making a movie. It's such a huge factor and adventure for a director because you really are the leader and the captain.
Directing is the last frontier for women in the movie business. We are studio heads, we are producers and we are writers, but we are not directors in any numbers.
Having a good director is very important. It's crucial. When you do good work with a certain director, you want to work with them again, and hopefully vice versa.
I kind of end up getting caught up in whatever the rhythm of the movie is and how open the director is to changing things in the moment or finding it in rehearsal.
I'd like to work with any actress from whom I can learn-one who has had many experiences with many directors and is willing to share some of her knowledge with me.
Every time I feel that I really hit critical mass and I'm in the right place is when I feel like the director and I become a third thing, and that's the character.
I believe I am a better director than actor. I enjoy acting if the part is right. Directing comes very naturally to me. I enjoy it. I am very confident in my work.
I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.
When parents watch scientist after scientist describe the dangers of GM foods, I wouldn't want to be a stubborn food service director trying to stand in their way.
I am open to keep on discovering new interesting projects, and little by little I have been coming across very beautiful projects with very affectionate directors.
Very broadly speaking, you can put directors into two areas: One for whom you work, and the other with whom you work. And I prefer the latter, for obvious reasons.
I think that the process of trying to become somebody else, and obviously the director/actor relationship in trying to do that, is such a weird, undefinable thing.
Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.
Also a good director and good dialogue. That's very important because you're bringing the words to life. So it's very important for an actor to have good dialogue.
There were movies that always made me want to be a director. You see brilliant scenes and the way the emotions were handled. I thought, I'd really like to do that.