Quotes of All Topics . Occasions . Authors
I was thrown in the deep end at 18 when I got cast in a movie that I didn't audition for. The director just sort of found me and put me in a film, so the decision was really made for me.
I want an actor to try to give me what I ask in the best and most exact way possible. He mustn't try to find out more, because then there's the danger that he'll become his own director.
I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.
The lack of racial diversity and gender diversity and the lack of female directors - those are not fashionable issues. And they're not issues that reside solely within the film industry.
I'm a student. I want to do better, and I want directors who can find the actress in me and be my teachers. I'm interested in the whole process of editing, post-production and direction.
I'm communicating with the directors of the Soviet companies, and I see that it is wrong, but when I go to the official discussions, they discuss we should change the color of the walls.
As somebody who makes his living in the movie business and wants to contribute to it, I think that the best chance I have of doing that is just consistently working with great directors.
I came up in the community center. I used to be physical director of the South Central Community Center in Chicago on 83rd. It's still there. It used to be around there when I was a kid.
Some things you know about, you know what the ingredients are - maybe not all of them. But it's up to you to put in the amount. It's up to the director to nag you until you get it right.
It's funny, I worked with a lot of directors in the many years that I've been doing this, and generally when you hear a director yelling on set, everybody scatters in the other direction.
You have to move really fast, as a director in television. If you're able to keep things moving on set, everybody has more fun, and when everybody has more fun, the end result is funnier.
I think Paul Weitz is a really amazing director, obviously with tons of acclaim and stuff, but I still think he is underrated. And I think he's amazing to work with, so I was super lucky.
My memorization skills aren't that great so I need help in that area. As far as everything else, I listen to the director. I'm someone who doesn't argue. I hit my marks and say the lines.
TV, it's a director's medium, and they wanna make it look interesting. To be rehearsing mostly for the sake of where you're standing so they can do the lighting, that's what I don't like.
It's an extreme to go from an artist like myself to a commercial artist with art directors looking over your shoulder, or any other knucklehead telling you what your art should look like.
When I was the director of Central Intelligence in the early '90s, I tried to get the Air Force to partner with us in building drones. And they didn't want to, because they had no pilots.
All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.
If Martin Scorsese calls, I am available. And then there the ones, well, you can just run down the list - any of those Oscar-nominated films, they have amazing directors across the board.
In comics, the writer is also the director in a certain way. So if this were a film, you wouldn't tell the cinematographer to make a good fight scene while you go and get a cup of coffee.
I had a choice. I could become an economist & managing director. I choose to do something else. I would have become much, much richer than I am. I choose to not do that. It's that simple.
The main reason for choosing a project is not really the renown of the director that's making the project. I feel like it's the fact of an actor to constantly want to do different things.
There's very few directors that know what that rehearsal's for. And often it's just about calming down the director. If he could see it or she sees it, she goes oh, it's going to be okay.
Yes, I was hired by Universal because they needed a comedy director. They had seen Scandal and liked it. I saw an opportunity even in those comedies to begin my project of American films.
I think that certain directors are better at choosing actors that match well with each other. And I have feelings about actors and who I think I'd work well with better moreso than others.
Sometimes what you lose in the time it takes to let an actor do something that you don't like as a director, you gain in not shutting them down creatively by telling them their idea sucks.
Stanley Kubrick was very selective when he went into a close-up. Every director has his taste in a performance, but Stanley would explore a scene to find what was most interesting for him.
Music and language are a vital element. We, as actors and directors, offer it to people who want to experience it. Sometimes the actual meaning is less important than the words themselves.
I'm an actor because I love movies, and always have loved movies. I'm a film buff. So, getting to work with those kinds of directors and getting to tell those stories is what I want to do.
I think Jesse [Zwick] is part of a new generation of director, because we'd be kidding ourselves if we did not acknowledge that there is this unsaid rule that the hero looks a certain way.
I think the wonderful thing about doing theater is that it's more of an actor's medium. I think that film is more of a director's medium. You can't edit something out on stage. It's there.
As a director myself, you want to have colleagues and collaborators that respect your authority as the director. I'm very comfortable with that, and I've done a lot of work in second unit.
Mike [Mitchell] brought me on as co-director, and eventually we ended up sharing a brain. It was overwhelming initially when I was working with departments I hadn't had contact with before.
Kubrick was one of those directors who actually did practically everything in his movies. He actually directed, photographed, wrote, lit, edited - everything. A few people can be like that.
The director is the most overrated artist in the world. He is the only artist who, with no talent whatsoever, can be a success for 50 years without his lack of talent ever being discovered.
My scripts are always heavily noted. If I can take a director to one side and say, "Do you mind if we try this?," a few days before, that's usually a better way of doing it then on the day.
Every actress has a line she'll draw, where she'll say, 'This I will do and this I won't.' For me, everything has to be important to the story and the director has to be able to tell me why.
The program director at a radio station, by the way, is not the superstar. If he was a superstar, he'd be out creating songs, but he's not. But he wants to act like he has control and power.
It's seldom that you get to work with one director more than once. I've worked with Clint Eastwood three times, but that's the only one that's happened with, simply because I adore his work.
Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film.
What happens is things come to you - director, script - and if you respond to it, it's because it's tapping into some part of what's inside you, and different roles tap into different parts.
One thing that is true in TV is that you do hire the directors. As the writer, it's very different than in features, where you feel like, "If I want this to be this way, I better direct it."
As a consumer of entertainment, as a director, I'm always interested in questions of identity and who someone is and how they're perceived and who they are versus who they thought they'd be.
When I was making films [early in my career] there were very, very few female directors, and there were certainly no women on set, which made taking one's clothes off all the more difficult.
On stage I am the actor, director and the bouncer all at the same time. Fear does not exist in this dojo does it? No Sensi! Sorry when I get excited I have to toss in some Karate Kid quotes.
Performers are so vulnerable. They're frightened of humiliation, sure their work will be crap. I try to make an environment where it's warm, where it's OK to fail - a kind of home, I suppose.
I think producers are more interested in backing concepts than directors and writers. I don't think that's the right way of making a decision about whether you're going to back a film or not.
What goes on between a father and a son, which is usually such a private matter, is that they are able to be honest with each other, and be honest with me, as a director. Its just remarkable.
Well, I wasnt just kind of standing in a queue at McDonalds and someone sat down and said, Youre the director of a $100 million Hollywood movie. Ive been working in commercials for ten years.
I did this thing for HBO called 'Strip Search' with Sidney Lumet, who was one of the best directors I've ever worked with. We actually had a rehearsal period before we shot, which is unusual.
We had many good directors - John Carpenter, Brian De Palma - but things have become polluted by business, money and bad relationships. The success of the horror genre has led to its downfall.