Quotes of All Topics . Occasions . Authors
I love supporting emerging voices, and new writers and directors. I love engaging an audience in a way that doesn't have to involve me, personally, and yet still generates an experience for groups of people.
My goal as an actor, as an up-and-coming actor in this business is to stay consistent with the work, you know, and if you do good work, and stay focused on the work, writers and directors will pay attention.
I think one of the reasons movies are the quintessential modern art form is that it is partially a business. The director needs a crew - the writer, the producer, etcetera - and to have that, he needs money.
I'm doing my best. I read in the paper that I'm an action director. They always say that, "Action director Walter Hill", if they bother writing about me at all. I think that's fine. I'm happy to do the work.
I think what makes a good actor's director is somebody who understands what I'm doing and is respectful of it, but who also has a vision and is directing me toward their vision in a way that feels productive.
The director is responsible for interpreting the playwright's work through the cast with the help of the staff. It is the director's artistic concept of the play that the cast, staff, and crew work to obtain.
I would like you to consider the difference in the time from 1963 to date. The FBI, at that time, was headed by Mr. Hoover who had been appointed Director continuously. He had, I would say, a good reputation.
As a director and an actor, it is very difficult to say "this person was better than another person." I judge by chemistry of the actors but it is difficult being a judge. I will never bash any of the actors.
Awards are important for all directors because they improve your working conditions. You're only as good as your last film, so if you get prizes or large audiences, then you get more money for your next film.
I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.
It's always the script first choosing roles. [Then] whoever else is attached. I never like to be the first person attached, because I don't really trust what's going on, unless there's a really good director.
Establishing what the vision is and being able to stick to it is the job, and everyone should be on the same page, going in. With that said, first-time director or not, you never know what you're going to get.
You have to really be able to trust the director. It's about the filmmaker and whether or not I'm going to be able to have a relationship with them and want to follow them down that road, wherever it may lead.
By the time I got to be director of product management at Thomas-Conrad, I was in a better negotiating position, as I had accumulated more accomplishments and gained a reputation for having a great work ethic.
I made the transition to directing documentaries with the great help of my Co-Director on The World According to Sesame Street, Linda Hawkins Costigan. She was a gracious teacher, and a wonderful collaborator.
Directors tell me what to do, and I kind of just put my own twist to it, just to get inside my personality that everybody doesn't really get to see - my off-the-court interests and the way I act. It's just me.
Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.
I'm not a real film buff. Unfortunately, I don't have time. I just don't go. And I become very nervous when I go to a film because I worry so much about the director and it is hard for me to digest my popcorn.
After the release of 'Ashta Chemm,' several producers and directors came with similar roles in their films. But I doesn't want to do stereo type roles and do something different for each film, and refused them.
Every time you say yes to a film there's a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.
Typically, among the audience members joining the actors, the director, Ann Ciccolella and myself, about half of these theater goers have read the novel [Anthem], and half have not read it. That is interesting.
I had no natural gift to be anything - not an athlete, not an actor, not a writer, not a director, a painter of garden porches - not anything. So I've worked really hard, because nothing ever came easily to me.
I went to Cal Arts and AFI, and I worked on 'Bonfire Of The Vanities.' I got this grant from the Academy to be Brian De Palma's apprentice director. And it was such a harrowing, disillusioning, awful experience.
Hillary Clinton said there was no marked classified information on her server. The FBI Director said that's untrue.She said that she did not email any classified information. The FBI Director says that's untrue.
[Hillary Clinton'] transition director being Ken Salazar, I think, indicates that she will continue to be a friend to fracking. It's not possible to solve the climate crisis while we continue to expand fracking.
When a director can give you a word that allows you to feel less tense about yourself, to make you feel like you indeed are good enough before you even get to the work, you can't ask for anything more than that.
I never thought I was doing the same thing as directors like John Carpenter, George Romero, and sometimes even Hitchcock, even though I've been sometimes compared to those other guys. We're after different game.
I've never seen a movie director who was happier to be directing a movie than Dave [Mamet]. His sets, everyone who's ever been involved with one of them will tell you of the funnest, funniest sets you can be on.
The turning point in my career was Jaws. It was a turning point because I was a director-for-hire before Jaws and because it was such a big hit I could do any movie I wanted and Hollywood just wrote me a cheque.
There is a kind of thinking in the Church that wants to reduce the priest to a mere functionary, a managing director, where administration rather than doctrine and worship are to determine the form of the Church.
Any director, if you really ask them, will tell you that the toughest thing to do is like a dinner table or a dialogue scene because you need to keep that electricity maintained throughout the course of the film.
I had to endure the worst time of all in terms of racial discrimination in Hollywood when i first started out. It was inconcievable to American directors and producers that a Mexican woman could have a lead role.
I've been really lucky to work with some really great film people in the past, but television works on a much quicker schedule, and it's the TV directors I've worked with that I looked to and became a big fan of.
The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
I had one well known director who kept saying, "Now Clint, this is what ...." And I'd say, "I know. I read the script. I'm the one who cast you as the director. Let me show you and you'll correct me if I'm wrong."
Truthfully, most directors don't direct actors. Every actor is different, so when you're asked, "How do you approach an actor?," it depends on the actor. With some, you do nothing. With some, you're very specific.
Obviously, I've been very lucky in general in my career, but I feel that I've been very lucky in terms of having directors come along at the right times who have taken me to the next level of where I needed to be.
I'm very shy. But as a director and especially a female director, absolutely: How I used to walk on the court is how I walk on set. And I have to - I mean, I'm controlling 150, 200 people, and everything is on me.
When I was a crusade director in British Columbia, all of our meetings were at 9:03. Somebody said 'That's ridiculous. Why did you do that?' It's because you remember it. You've never been to another 9:03 meeting.
You often have a great director who's like, "Well, actually I don't even want to reveal you until the end of this scene" or something like that and it totally changes everything that you thought it was going to be.
There are plenty of directors who work with the same actors over and over, many more times than I have. Like I have worked with Bill Nighy more times than I have worked with Kate, but I'm not married to Bill Nighy.
[Alejandro González Iñárritu] went from Birdman to this - these are incredible ledges that he's stepping out on in making these films [The Revenant]. I think his only threat for best director is Room, to be honest.
Really good director sometimes will kind of see what the actors are doing and then get in there. Because there's the realization that you have to find it a little bit and then kind of clump around and sniff it out.
I'd love to direct, and I think I'd be a great director, but... I've been approved by the studio to direct, which I think is a cool jump of faith for them. Or proof that they're really stupid. But I don't think so.
If a director, I believe, has vision and knows so clearly what they want, then you can have a film that can perform. Whereas you can have done 50 movies, but if you're unsure this time, your movie may not turn out.
I didn't really know what I wanted to do, and then I got this call from a casting director in Los Angeles. She remembered me from something years before, and she called my mom wanting me to audition for this thing.
I love to tell stories and I love to work with directors and I think I write really visually, which I think directors like, and I love making movies, so I found something that I'm good at and I'm really happy doing.
I love films. I love fiction films, too. I do. I love making them, but it has to be the right one. Hopefully, I'll never become a director for hire. It's horrible to make a film that you're not really interested in.
For me, each film, each script is like a little journey in itself, and I'm reinventing the wheel. It's like how do I make this film. That's part of the pleasure and that's why I'm not a normal professional director.
Of course for many years directors have had to go on the road with their movies and promote them and I've done that since the beginning. So that's not new but the forms of it are different such as with the internet.