Elia Kazan Quotes
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.
Quotes to Explore
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Society exists only as a mental concept; in the real world there are only individuals.
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When you consider the concept of vampirism, it is inherently part of a Western culture.
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I love the concept of community energy.
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The whole concept of the devil is a metaphor on one level.
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When we talk about dystopias, especially in young adult fiction, a lot of them are essentially science fictional futures. They aren't necessarily tied to the traditional concept of dystopia. And so in that space, my impression is that kids love reading about weird, wild, adventurous places, and dystopia fits that bill.
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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 do not find the concept of consorting with unknown persons appealing.
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Theatricality is a concept. It's not a specific language.
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The concept of peaceful coexistence has been criticized by many who do not see the need to make the world safe for diversity. I wonder if they have ever paused to ask themselves the question: What is the alternative to coexistence?
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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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The directors you trust the most are the ones, when you ask them a question, they've got the guts to say, 'I don't know.'
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As a director, I hoped that I was able to help the actors by giving them the space and the respect they need and the trust. I gave them what I always felt I needed when I was working.
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I'm shy to call myself a director still. When someone says, 'What do you do for a living?' I don't know if I've earned that.
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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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With regard to my case, the concept has been called a 'sign of the apocalypse' and listed under the News of the Weird.
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When I think back on it, of course I got lucky and got great directors and good breaks but all that was the physical part. But what made me a star was that I could take a chance and not have anything to worry about in terms of losing.
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The cause of laughter is simply the sudden perception of the incongruity between a concept and the real project.
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It's strange - some directors are really talented but they can be so precious when it comes to letting you be a part of it.
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There are so many difficult things we're living through in the world today, so many horrible events, but we cannot let them stop us. No matter what happens, I feel you must move forward with optimism and not get totally sideswiped.
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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.
