Quotes of All Topics . Occasions . Authors
I adapt to directors, I don't like making directors adapt to me. If I'm with Clint Eastwood then I'll do two takes, if I'm with Fincher I'll do 50 - though the thought of that sounds horrible.
European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films
The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
As an actor, I want to give in to the collaboration with the director because I don't want my work to be all the same. The more this can be done with comfort, the more variety my work has had.
When I was nine years old I use to copy ( not trace ) the covers of the Donald Duck comics. Many years later I became a close friend of Jack Hannah, the director of the Donald Duck film shorts.
With every movie I produce, I learn something. I watch the directors. It's like the relationship you have with your children. I'm there to learn from my daughters. They are the perfect spirits.
Directing is exhausting, but not for the actual directing part, when you say "Action!" and give creative notes. As a director, the exhausting part is that you are a professional answer-machine.
It's only human and natural that an actor should see the film in terms of his own part, but I, as a director, have to see the film as a whole. He must therefore collaborate selflessly, totally.
A lot of times, actors and directors don't want to repeat something. I don't think we're repeating something, but I think there's certainly a genre that we're in, and we're happy to embrace it.
My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.
The way television works is that directors come in and out, and they're not there all the time, following every character through every scene. They're vagabonds who go from one show to another.
Ten years ago, it was really difficult for a young actress to walk onto a set and disagree with the director and having that be OK and have a conversation about it and everyone be cool with it.
Every actor you work with has a different method, same with the director. You have to figure out what your shared language is and how to best support each other, and also take care of yourself.
Who would have thought that [director] Cameron Crowe had a movie as bad as Vanilla Sky in him? It's a punishing picture, a betrayal of everything that Crowe has proved he knows how to do right.
No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn't often happen.
We haven't seen a situation where you have the FBI director talk about an investigation side by side with the attorney general who confirms, yes, I accept the recommendation of the FBI director.
I always felt that the telefilm directors made wonderful films, which are even better than the big screen movies, but never got enough opportunities to showcase their talents on the big screens.
Everyone can do a character the way they want to do it, unless the director tells them not to, which isn't very common. I like to do my characters, if it's not specific in the script, as myself.
The contemporary Japanese directors who are well-known in the West - say, Kiyoshi Kurosawa, Takeshi Kitano, Naomi Kawase - are mostly unknown to Japanese, particularly of the younger generation.
I am often asked at what point in my love affair with films I began to want to be a director or a critic. Truthfully, I don't know. All I know is that I wanted to get closer and closer to films.
A lot of new American directors have had mentors who have given them advice. And some of them have had the way paved for them by huge Hollywood directors who saw a younger version of themselves.
I did my first movie, "The Mambo Kings," in America without speaking the language. I learned the lines phonetically. I had an interpreter actually just to understand directions from my director.
I used to put that I studied with Stella Adler on my resume. I never met Stella Adler. But if you told a casting director you studied with Stella Adler all the sudden they'd let you in the door.
On Darjeeling, I was on set every day and I acted as the second unit director and a producer on that film. I was there throughout the whole process. On Moonrise Kingdom, I showed up for one day.
Usually when you meet with a director, just meeting them after you've seen something you're interested in, they say, "Oh I'd love to work together," and sometimes you never hear from them again.
My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.
Obviously I've got a great team of people within the company. You can't operate all by yourself. We have a good board of directors and a big bench, and they can make decisions if I'm not around.
That's a frustration sometimes, that certain directors that I'd like to work with, they just aren't doing stories that I'm sort of castable in. Not always, but sometimes I have that frustration.
I understand the formula that producers hire directors and directors are hired to direct and actors are hired to act. I don't have any conflict with any directors because I know they're the boss.
Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.
I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.
For me, being a director is about watching, not about telling people what to do. Or maybe it's like being a mirror; if they didn't have me to look at, they wouldn't be able to put the make-up on.
I did direct two short movies. I learned many things, and one of the things I learned was that I am not a director. It has to be visceral, and it's not for me. I feel much more comfortable acting.
I've been very lucky to work with many amazing animators and directors who can interpret and extend the music I make. When it's done well, it can create extra meaning and new context for the song.
When I came to the industry, many directors like Krishna Vamsi and Puri Jagannath had encouraged me a lot. Krishna Vamsi is my mentor, and I admire him. That's why I give chances to new directors.
As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.
Television can become a bit of a treadmill for directors. You come in, nobody knows you, the actors are already doing what they're doing, and you're just one of a number of directors who comes in.
A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.
Normally, I'm a very controlling director. Directors are controlling. It's part of the job, but there's various degrees of it and the constructs I normally work on are very controlling constructs.
If a director takes the time to document - to step back to observe - I think it I more honest. Because it has to be the public that makes the conclusions and who, possibly, resolves the situation.
I feel like this is the way I was meant to interact with acting. Which is as a director, and helping, working with actors to find their way. Facilitating their performances is so satisfying for me.
I rode it once, which was up the driveway in the opening credits of the show. I didn't know how to stop it. I actually nearly killed the director of photography, and I smashed into the sound truck.
If a director can find the exact combination between the written word as a guideline and improvisational input from his actors, I think that's where you'll find the most successful work being done.
The Dead was cool, It's a great horror story. I went to the casting director of this movie and talked to him, then they called my agent and had me come in and read for it and they wanted to use me.
There's no director who wants to portray cheese puffs with a certain color that's going to make or break the commercial, in his opinion. We don't have to do that, so I don't miss it at all, really.
[Director Richard Tanne] was inspired by their [Barack and Michelle Obama] flirtation, and their connection. That's not normal with politicians who are married - they usually look forced or awkward.
This great oracle of the East India Company himself admits that, if there is no power vested in the Court of Directors but that of the patronage, there is really no government vested in them at all.
There are some directors, lesser in confidence or skill, who make the actor feel very uncomfortable because you feel you're auditioning for them, every day, and that's a terrible feeling on the set.
But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
With an inexperienced director, a lot of times the days go on to 14, 15, 16 hours. It goes horrendously overtime. And because of the lack of money, they just keep you there, regardless of the hours.