Quotes of All Topics . Occasions . Authors
Everything is entertainment; criticism is now entertainment and it seems that the French directors have woken up one day and suddenly realised that they were not backed up any more.
I've written a lot of scripts that someone else directed, and it's absolutely vital that, if I'm gonna act in it, then I have to take off the writer hat and let the director direct.
I find that all great directors, and I would include Ben Affleck and Clint Eastwood in that, they have great confidence. And with great confidence comes great freedom for the actor.
Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.
I have always been a director first and the whole acting thing just happened because none of my friends wanted to be in my videos, so I had to do it myself and wear a bunch of wigs.
I feel like I've had a really great intense relationship with every single Director I've ever worked with. I can't say there's one that hasn't been deep and profound in its own way.
A lot of times the character's experience is not in accordance with the tone of the movie and it's not really my job to account for the tone of the movie. That's the director's job.
It's often the case with directors that they don't like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.
My favorite parts of work as an actor and a director are those unplanned mistakes that do happen, because it's like catching lightning in a bottle. It's the best part of what we do.
I was thinking what an interesting concept it is to eliminate the writer from the artistic process. If we can just get rid of these actors and directors, maybe we got something here.
I like the old school heavy metal bands like AC/DC and Aeromith. I like that type of music. As the director, I tried to influence the type of music the bands in the movie would play.
I think today there are too many directors taking themselves seriously; the only one capable of saying anything really new and interesting is Luis Bunuel. He's a very great director.
When I became a director, I wanted to convince a very reluctant Sidney into allowing me to go on the journey of his life. Sidney had gone ahead of every other African American actor.
I'm not one of these directors, so far, that wants to have a whole separate director's cut of these things. So far they've turned out to be kind of the length that they wanted to be.
I was very fortunate in having David Fincher, the director come to me. Now I've seen the finished product, I feel that every bit of the nine months we spent on the film was worth it.
I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.
Definitely my favorite cut is the one that got put out. That's my favorite version of the film, the one that I put in theaters. That's my directors cut, there's no question about it.
I will never become a director or a movie producer. I was always looking at picture directing because I didn't know what to do! You can't be a movie director without real preparation.
When I do a film, usually I work from my director. That's my boss. The director is interpreting the writer's vision, and we all interpret it, and they create their own vision as well.
I miss the comraderie of live television - the fact that you were on the set, you worked closely with the director and the cast, that I miss. But, no, I'm happy, I'm happy doing film.
I would like - either as an actor, or producer or even director - to do something sci-fi or action-related. I like sci-fi, always have, 'Star Trek' and 'Star Wars' and all that stuff.
As a director, I hoped that I was able to help the actors by giving them the space and the respect they need and the trust. I gave them what I always felt I needed when I was working.
The red directors were one of the main political forces. Another force was the former Soviet ministers who lost everything because of the transformation of the Soviet Union to Russia.
I wanted to do - there was this film called 'Magic' that Anthony Hopkins did. And the director wanted me. The writer wanted me. Joe Levine said no, I don't want any comedians in this.
My biggest advice for women writer/directors is to always be attempting to make work that avoids pandering to the conceptions that the industry has put in place for "women directors."
Most of the time I've worked with directors who write their own scripts. The story is more important to me than the part. The project of the film has always been more important to me.
I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I'm not the only one.
It's hard to be reverent today when directors make films that are not as good. There will be time later, though, when their lesser films are forgotten and just focus on the greatness.
I have zero tolerance for people who don't come completely prepared. I expect contribution, I expect attendance, and I expect directors to take trips and visit the company's programs.
I love the act of writing. I like the quiet, internal aspect of it. If I lost track of that, I couldn't direct the same way. I couldn't be a director for-hire; it's just not my nature.
I trust work, directors - I don't live in fear. All good experiences have come from trusting the universe. There is no other way to live or love. Otherwise, you create your own prison.
I feel fortunate. I've really gotten to work with amazing talented people, and to learn from them, which is why I'm doing this. If I can work with the best director I'm going to do it.
I thought it was a huge conflict of interest to be the director and the subject - it's very sketchy territory to be in. I've seen what's happened to other directors who have done that.
I've worked on shows where the lead actor doesn't know their lines, doesn't care, and it affects everybody - the crew, the director, the other actors. It's definitely a responsibility.
What you realize is that a lot of actors want to be directed. They're there to do the best job they can for the director. They have a lot of questions, and your job is to have answers.
When you start a new project and they say, "Your director is going to be Joe Blo," you're hoping that Joe Blo will be the next Martin Scorsese, but it doesn't always work out that way.
Bollywood directors are like cricketers where in one match you score a century, and in the next match, you are out for a duck! Moreover, very few directors are consistent in Bollywood.
One final thing a director needs: The ability to say 'I am wrong' or 'I was wrong.' Not as easy as it sounds. But in many situations, these 3 words, honestly spoken, will save the day.
I think TV is much more the writer's medium and film is about the director and their vision and how you can collaborate with them and see that through to the end. They are so different
All I mean is, I'm not the kind of audience comedy directors want at a test screening because I seldom laugh, and if I do, it's not very loud. That doesn't mean I don't like the movie.
I don’t want to be an editor! I don’t want to direct; I’d be a horrible director. I don’t want to write - I have a “story by” credit on one film I did. And I don’t want to edit at all.
I have a strong and strange character, and I've rarely met directors who knew what to do with this character. One of the few who did was my father, and in the theatre, Arthur Nauzyciel.
My philosophy is that to be a director you cannot be subject to anyone, even the head of the studio. I threatened to quit each time I didn't get my way, but no one ever let me walk out.
Sometimes the odds are against you-the director doesn't know what the hell he's doing, or something falls apart in the production, or you're working with an actor who's just unbearable.
I want more girls to be able to see themselves behind the camera creating images we all enjoy, and I want to call attention to the fact that women directors are here all over the world.
I directed before I was even in television; I directed in the theatre for seven years, so that was my trade anyway. But in the UK, I've given up any hope of being considered a director.
Somehow, we [ Tan Dun and director Chen Kaige] were all privileged at the time; we could be outside of China. But at the moment, we had no sense of what the future was going to be like.
I'm a huge fan of the director, Alejandro González Iñárritu, and his work, and I knew he was going to be an amazing actor's director, based on the performances that I saw in his movies.
As a director, you have to go in with a really, really, really clear picture of what you want. That's the point of my commentaries. It's so difficult because you're the harshest critic.
It is so great to go to a casting director and have them wanting to talk about the show that you are in. It's such a great icebreaker. It just makes the environment so much more relaxed.