Ornella Muti Quotes
Quotes to Explore
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I've basically worked as a journalist and a writer.
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What I learned was that celebrities come to me with a preconceived notion. They think I'm fun, or they've worked with me, or they know me, or we've met. So there's a lot of backstuff on the 'Vicki!' show.
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I think the three Mexican directors that came before me did a very good job in Hollywood because they came in and started directing things like 'Harry Potter.'
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I am half Puerto Rican, a quarter German and a quarter black. That was always a big issue for me - being mixed race - because casting directors tended to be very like, 'OK, are you Hispanic for this role?' 'Or is she going to be African American?'
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I've tried singing like somebody else, and it never worked for me. The only thing that has ever worked for me was me being me, so either you love it or not.
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The self-taught man seldom knows anything accurately, and he does not know a tenth as much as he could have known if he had worked under teachers;
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I certainly didn't have a three-book plan or a 10-year plan when I worked on the first book.
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Far be it for me to have worked it out in any abstract way. I don't know why the bull and Mrs. May have to die, or why Mr. Fortune and Mary Fortune: I just feel in my bones that that is the way it has to be. If I had the abstraction first I don't suppose I would write the story.
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Really top-notch directors, I've often worked with them just to see how they work.
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I understand the directors much more. I was always rebelling against them when I was a youngster, I didn't want to be told what to do. I had no identification.
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They worked hard to not give labor a dedicated slot today.
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The nice thing about being a director is that I can say, "I can only get into the room after the kids are at school, and I have to be back for dinner. And they're coming for lunch."
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As a director you want to have actors, not only surpassing themselves, but also going somewhere, going different places.
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If you're sounding right, you're probably walking right, and vice versa. If you get the footwork right - if you get even one line right in a rehearsal, the director will say, do you know when you said that, it was exactly the character. You were - really landed on it.
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Is it 'left' to insist that presidents and CIA directors adhere to the law? I don't think so. I think it's American.
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If there is one thing that, as a director, you don't want to be a part of, it's a group. It's the same thing with music. I don't want to be a part of a scene. Just leave me alone. It's just my nature, and it's nothing against the people that are in that group, but I just like to be left alone.
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Some directors, like Stevens [George Stevens], shoot full circle, 360 degrees, and that's what's right for them. I generally shoot at about a seven to one ratio. But part of that is because I've worked on every screenplay, so I'm further along in the visual concept.
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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.
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The director's very important to me, particularly when the director has a recognizable style.
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Do not finish your work too much. An impression is not sufficiently durable for its first freshness to survive a belated search for infinite detail; in this way you let the lava grow cool.
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I like this idea of identification with the local team. I think it's great. That's what an orchestra should be. It's an orchestra for its hometown, and it serves the people.
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I worked with a lot of directors, and I took something from everyone.
