Director Quotes
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It can be a bit annoying if another actor is trying to talk to the director and the wife is sitting on his lap.
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The first heart you win over is that casting director. In first meetings, they'll be the ones who see your pitch for the character. And then as you get further up, they'll be the ones reading with you in front of the network.
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I don't think anyone can really make up their mind and say, Now I'm going to be a director.
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As an actor, I look at scenes much differently than I would look at them as a director, and I never realized that until it actually happened.
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The director I had most involvement with was Alex Rockwell. He gave me a lot of responsibility as an actor.
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Good, bad mediocre or whatever it is, if a director wants me in his movie, I take it as a compliment.
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I can make a better living as an actor than I can as a director. Though I certainly would prefer to be directing movies.
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'The Best Man' was my first feature film, and I didn't want to be known as a director who only does romantic comedies.
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The director can't do your job for you. He can't get in front of the camera and perform your part.
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I really love the experience of moving things around, in terms of being a director.
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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.
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One of my biggest fears as a director is that everything is taking too long on camera. The actor saying their lines, the silence between lines, the length of time it takes to walk from A to B. So you try it at different speeds and then see what sticks in the edit room.
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I have to be strong about my own tastes because I think that's what the director's job is.
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I think it's important that a director be able to know his characters inside and out.
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If I were to be cast as Cyrano or a Connecticut prep-school teacher or a gay boutique owner, it would only happen if some director I had worked with in the past said, 'Why don't we give Rispoli a shot at it?'
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If I have to wear a hat as a producer to do that, then I'm willing to do that. An actor's, producer's and director's point-of-view is all the same to me, as long as the story's being told.
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American Graffiti was the first movie where the director let me have any input. It was the first time anyone ever listened to me. George thought my character should have a crew cut, but I wasn't happy with that idea. I'd always had pretty long hair back then - in college, particularly - so I told George my character should wear a cowboy hat. George thought about it and he remembered a bunch of guys from Modesto, California, who cruised around, like my character, and wore cowboy hats, so it turned out that it actually fit the movie.
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There's a different set of writers and a different director for the films, but Marvel has turned it into a pretty spectacular job.
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I don't watch many films. I just make sure my directors are really good. I will work even with a debut director, but the one-hour narration of the script should be mind-blowing.
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In the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective--and to any number of subjective points of view--and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.
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I thought it was a huge conflict of interest to be the director and the subject - it's very sketchy territory to be in. I've seen what's happened to other directors who have done that.
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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.
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I'd like Santa Claus to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.
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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.
