Quotes of All Topics . Occasions . Authors
Sometimes I call directors. Sometimes I just meet with them. It just happens. It's not that I'm pushy. It comes naturally. But I go ahead. I don't stay in my armchair, waiting for the phone to ring.
The truth of the matter is this - I never look for films specifically, because ultimately if the fundamentals of the character and the script and the director aren't there, it makes it a moot point.
David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.
Actually, what will be shown from here to eternity will be Burt Lancaster and Deborah Kerr cavorting on the beach. From Here to Eternity must have seemed like a chore to its director, Fred Zinnemann.
Plan B is really a little garage band of three people, and our mandate has been to help get difficult material, that might not otherwise get made, to the screen and to work with directors we respect.
I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.
I was focused on The Hunger Games movie with my director, with the studio, and with the cast and crew. We all just focused on making the best possible movie we could, and earning the right to do more.
When you are shooting a movie, you have to collaborate with many, many, many people. First of all, the director with all his own ideas and I can only just help him with that. I cannot change his idea.
For me to get to work with a writer-director over time in developing a project - my investment feels much more profound. I know that whatever is on the other end I'm going to feel that much closer to.
I'm very excited about is that my son Scott is a director and he just finished his first picture. It's called "Lucky 13", it's a low budget picture, it stars Jeremy Dillon, Daryl Hannah and Jami Gertz.
ADMIRABLY BOLD. There's something grand about the film's sincerity and the intensity of its emotions and something fresh and bold about the way director Gray uses the conventions of romantic melodrama.
I kind of have an interest in all history. And I suspect it comes from being Irish - we like stories, we like telling stories, which makes a lot of us lean towards being writers or actors or directors.
If you have a script that's not great, if you have a great director, you can make a great movie, but if you have a great script with a director who's not good, never are you going to have a good movie.
You spend enough time on set as an actor and it's great when a director was at some point an actor or understands acting. They're able to finesse performances out of you that a lot directors can't get.
When you do improv, you're everything. You're a performer, writer, and director, because you're moving the scene in the direction you want it to go, you're making it up as you go, and you're acting it.
If being an attractive woman got you attention for directing, then the entire best director category would be comprised of models. To me, that is just the most ludicrous connection that you could make.
So I started to learn Russian and I was one of those probably way too eager, annoying young actor kids who was trying to change all my lines to Russian, much to the dismay of the director and Nic Cage.
I love improv. 'Crazy, Stupid, Love,' the script was really great, but the directors were open to letting you try different things. And that felt like a muscle I hadn't exercised in a really long time.
When I was a young stunt guy the director would say: "You're useless..." But I wanted to be the best, I wanted to be a super stunt guy. That's how I built myself, because of martial arts and everything.
I don't want to get locked into any one type of genre. I just want to constantly be working with amazing directors and amazing actors, and just always pushing the envelope on what I can do, as an actor.
Every time a director calls me and says, 'If you practice a lot in two months, can you be an American?' And I always tell them, 'Well, maybe but I'm French. So it's going to be hard to be someone else.'
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
There's a kind of unwritten rule: Don't say anything at all, and everything will be fine. It's a producer's medium. The directors aren't there to make any decisions. They're not going to change anything.
I do feel, like everyone, there's not enough female directors out there, there's not enough female producers, and would like to see more people get more opportunity, more opportunity for roles for women.
Sometimes you have to say the words exactly how they are on the page, but sometimes when you improv, it only helps to get across what's on the page, and I just love working with directors who allow that.
When your set is led by a great guy and visionary like Director Tim Miler and a true superstar talent like Reynolds who's so easy to connect and improv with it allows it to be a lot of fun along the way.
I hope I don't just do the exact same thing my whole life. I also feel like it's really hard to make comedy. It's almost impossible for comedy filmmakers and directors to stay relevant as they get older.
It's a writer's or director's role to be cerebral, whereas for an actor it should be a visceral, gut thing. When the action starts, it's best to turn the brain off and let it become an instinctual thing.
Our intelligence community needs better coordination of operations and exchange of information, and that's why we need an overall director of national intelligence and a national counterterrorism center.
I'm really, really happy with what I do for a living. I mean, that's what I consider work, like being on set, bringing a character to life and, you know, working with other actors and directors and stuff.
I want make more records with my sister. I want to go on the road. I want to tour around the world. I want to continue to make great films and work with incredible directors that I respect and look up to.
Every time I make an American film I just trust the American director and American writer. Myself, I would never make this kind of film. For me, those kinds of films are ridiculous. They don't make sense.
I do believe in us as actors and directors and writers and producers and also as movie-goers. We have much more power than we believe we have. Without our ticket, studios can't make traditional decisions.
There's something special about working with picture and adding music to picture that really takes you to a whole new level. It's always the director's picture first, and I'm there to help tell the story.
Control is the wrong word. The practice is very much about sharing, and, in any creative practice, some individuals, whether partners or directors, are much closer to certain projects than I could ever be.
I've been lucky to learn by playing all kinds of roles and watching all kinds of really good cinematographers, actors, and directors for many years before people were even aware of me in terms of audience.
Hillary Clinton is guilty, of all the things that Director [James] Comey stated at his press conference and Congressional hearings, and far more. He stated many things, but it's far more and he knows that.
Any film that you see is never just the director. If it's a film that you love, it's not so easy to say, "Oh it's directed by this person - that means everything that person directs is going be wonderful."
TV is generally an unfriendly environment for directors because you're expected to come in and tell a story in the voice of the show that already exists, and just fill in the blanks and then submit it back.
One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.
I'm not as eager to go just work to work. I have another life outside of it, and if I'm pretty sure the movie's not going to have a life, or if it's not a director I believe in, then I probably will say no.
I realized why directors are such horrible people - in a way - because you want things to be right, and people will just not listen to you, and there is no time to be nice to people, no time to be delicate.
As Claude LeLouche said, his favorite American director is Sergio Leone. Not because I would be American, but because I was dealing with subject matter that an American could have just as easily dealt with.
The worst is when I talk myself into something. Sometimes you take things because you want to work with a certain actor, or you want to work with a director, even if the script or the part's not that great.
Another mistake a director can make is not to be prepared, so you get there on the day to shoot the scene, and they don't know how it should be blocked, and they're not clear on how they want to do a scene.
I feel fine, I don't care who the director is. All you have to do is know what your doing - all of us - everybody in the business - that's all you ask anyone - you know your job, I know mine, let's go do it.
As the director, you have to hold in your head the widest possible vision. Not just the idea and the story, but the conceptual content. But at the same time, you have to consider the tiniest, tiniest detail.
Obviously with the onset of cable and satellite, there are more opportunities for programming and original programming, so it creates more opportunities for actors and producers and directors and everything.
I love doing big movies. It's awesome! You have all these toys. The thing I like about this movie is, like they always say, directors have the biggest train sets! Don't tell anyone, but I'd do this for free.
At times, there are misunderstandings [during shooting]. Especially with green screen and not really knowing what it is that you're looking at, you really depend on the director to create that world for you.