Director Quotes
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It's seldom that you get to work with one director more than once. I've worked with Clint Eastwood three times, but that's the only one that's happened with, simply because I adore his work.
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I don't really consider myself a female director, and I don't want to do so for other women. Female directors are just directors.
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The foreign-language Oscar is something that doesn't go to the producer or the director; it goes to the country.
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I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.
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I think any performing artist can do films, or, as a matter of fact, anybody out there in the street can be a film actor with no experience whatsoever if you've got a good director.
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The Actor should make you forget the existence of author and director, and even forget the actor.
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It's important for me to work with a strong director because I know I can go to some really deep places, I just need direction on how to get there.
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I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him.
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One final thing a director needs: The ability to say 'I am wrong' or 'I was wrong.' Not as easy as it sounds. But in many situations, these 3 words, honestly spoken, will save the day.
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The director is a bit analogous to the conductor of a symphony orchestra. It's a collaborative adventure.
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I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.
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One of the gratuities about being a director is that you can volunteer yourself out of difficult details.
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As a director, I really wanted to learn and I needed to get away from my own stuff to figure out how to just do things and work with good people.
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As a director, you never think about how an audience would respond. You can think about that, but you will never change what you're going to do.
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For my entire career, I wanted to be a director. When I was in the theater, it was very difficult to get directing jobs, and I fell into the acting by default. I got in the habit of accepting whatever came my way. Not things that I disagreed with, though. It's not like I had aspirations - well, I did have aspirations to play Hamlet, which I ended up doing.
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It doesn't matter if I have experienced actors alongside or novices. It doesn't matter if the director is one film old or a hundred. All I'm interested in is doing justice to the role.
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Theater is about interpretation and what an actor and what a director brings to a piece too. I'm open to it every time I work with a director and a group of actors. I have to be open to that interpretation. I'm not one of those hysterical playwrights that come and say, "This is not what I intended to do." It's one rendition of the piece.
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I learn a lot from every director that I work with. I sit on set and watch them, every one.
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The relationship between an actress and her director is often a very close one.
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Each Catwoman is specific to the Gotham City she lives in and the director that helps shape her. So it's kind of hard to have a favorite and I'm not just being political, it's hard to have a favorite because each one is so specific as themselves.
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I would be a terrible director, I could never write anything. One of my great strengths is that I know all of my weaknesses.
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When I grow up, I still want to be a director.
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When I do a film, I try and see how in tune I am with the director.
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One thing I know is that I don't want to be a director for hire, making genre films.
