Quotes of All Topics . Occasions . Authors
I would say that the directors that I've liked the most are all curious in nature - curious thinkers. They're all big questioners, I would say, first and foremost.
To televisionize any serious problem, the program directors face the task of making the message 'go down smooth' until the audience is delivered to the commercial.
I thought ['Sailcloth'] was a terrific script. Elfar Adalsteins, the director, is bound to be a director we'll hear from, and the whole thing was really enjoyable.
My interests were aroused, and my faith in the cliches of the subject destroyed, as so often with other subjects, by the discussions with my friend, Aaron Director.
It's hard on an actor when you have to do a scene 45 times and you know damn well that three of the angles a director is shooting will never make it into the movie.
It's a roll of the dice when you're a first time director so I prefer to work with people that know more than I do, but that happens less and less as you get older.
If you're a casting director, you're going to be curious to see what Timothy Spall's son is like. But when you get in the door, you have to have something to offer.
What I think happens, and that you have to acknowledge though, is that a director uses a book as a launching pad for his own work and that's always very flattering.
As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.
I don't have an interest in being a director-for-hire on sitcoms - but if it's a really cool show that I thought I could bring something to, I would love to do that.
My philosophy is, 'Show up, shut up, and do your job,' and if you do it to the satisfaction of your director and the public, you're likely to be able to do it again.
Every part I've done has been for one reason or another-money, or the part, or the director, or the location. I'd like to get one thing that's all of those combined.
So I write melodies - thirty, forty, fifty - then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide.
As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.
Actors aren't stupid, mostly, and if there's a sensibility and an aesthetic that a director's going for, if you're aware of that too, you can do things to help that.
In my own experience of male and female directors, people have a much, much harder time taking a direct command from a woman. It's somehow very difficult for people.
You can't rely on the approval of others. I used to always look for praise from my directors to reassure myself that I was doing a good job. I don't do that anymore.
The most important thing for a director is being able to communicate. When you communicate comfortably, regardless of what you're saying, it can always be processed.
Well, 45-odd years of doing it, so we all pile up the things we like about directors and the things we don't like about directors. And sometimes they're very similar.
It's quite liberating to have a director stand beside the camera and say: "Do this now, and do that now..." It's also a bit sordid but it liberates an actor, I think.
As an actor I can sort of smell a duff note, that isn't full of that much conviction. My worst thing with directors is when I know more than them about the character.
I think what's fun about the fairytales is just seeing what everybody interprets them as, which comes from the different directors and what they want to do with them.
First, speaking for myself, I don't want to ever be in a position where I'm telling other directors how to make movies, because I don't think it's any of my business.
In a career, when you hit 40 and you've done a lot of this and that, you want to try some new things. I feel like that as a director, too, from one film to the other.
Women are making strides in many areas and women have mentored and supported me along the way. I think that women are underrepresented behind the camera as directors.
The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.
Good directors can bring certain things out of you, with their intensity or gentleness or sensitivity or understanding. They can make an actor feel he can do no wrong.
I guess confidence is the only thing that I take from project to project, but I'm always open to learning everybody's style - the director, the actor I'm working with.
A lot of the things that we've been able to do in the last several years were Democratic ideas, including the structure for this new director of national intelligence.
An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.
I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.
There's no such thing as "an auteurist filmmaker." Every film directors is an auteur. We only make films that we do because we cannot put on clothes that don't fit us.
I love working with actors. If you cast the right person in the right part at the right time, they make you look like a better writer and director than you really are.
[on editing of the films] There is always a question of time, and the director. I've worked with a lot of directors who don't mind my involvement. They appreciated it.
In Europe, Henk Tennekes was dismissed as research director of the Royal Dutch Meteorological Society after questioning the scientific underpinnings of global warming.
A director is what a director wants to be. If you want to force something, you can fight to the death and maybe get fired, but it's your job to help push things along.
I've discovered just how symbiotic the relationship is between writers, directors and actors. They ask the same questions and strip down texts in exactly the same way.
I think film is a director's medium and the good filmmakers that I like tell the darker stories. Therefore, I'm always inclined to follow people like David Cronenberg.
A director can come from anywhere, but having a story background, if you have nothing else, is probably a good thing to have because it's really the one tool you need.
The directors that I end up having a really good time with are the ones that understand the fluidity of the medium and are interested in catching lightning in a bottle.
Being a producer, I deal with a lot of different directors, and some of them would drive me insane with all the different histrionics, and the mystique that they carry.
I don't have specific people. There are so many people that I admire and there's directors that I'm desperate to work with that haven't even made a movie yet, probably.
With Alien, because we always use a different director, each one kind of stands on its own. So I guess it's possible for them to make another one, but we have no plans.
Peter Chelsom and Edgar Wright are totally different directors and worlds apart, but both really accomplished directors who are certain of how they want to make a film.
For us, as actors, and even for the director, it gave us a sense of authenticity to what we were doing because we were talking about Hollywood and we were in Hollywood.
I have done films where we all thought the director didn't know what he was doing and it is going to be a gobble gobble turkey. And you go and watch it and it is great.
The film [Dream of Life] is the way it is because it was the rhythm of my life, and also because the director and the editor are both gifted and both fine human beings.
I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.
I made a conscious effort that I just wanted to work with people that were going to make me better and that was the main thing - writers, directors, in whatever medium.
But that's not what an actor does. An actor finds things in the moment with a director and other actors that you don't have time to hand-draw or animate with a computer.