Director Quotes
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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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The relationship between an actress and her director is often a very close one.
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You either are a good director or you're not.
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Many times I felt like I'd do better than what the director did, but some of them got a little discouraged because they didn't have full charge of making the film, and sometimes there'd be battles of egos.
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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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When I grow up, I still want to be a director.
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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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If I'm a director and I read a script and I say yeah I really want to do this, I would never walk away because the deal wasn't very good - that I wasn't getting paid very much or that the chances that I would see anything on the back end were remote because of the financial waterfall and the way it's structured. I would never use that as a reason not to do something.
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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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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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You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.
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One thing I know is that I don't want to be a director for hire, making genre films.
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As a director you have to - you don't have the option of saying, "I'm not watching this."
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Every director works differently.
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I think that what kind of is making this different is the creative group of us that has come together and we're all kind of on the same page working towards the same goal. So it is a real collaborative effort of our hearts more than it is oh you have the writer, you have the director, the producer, whatever.
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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 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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As an actor you don't control the end result. Because you're a director, you get to control the end result. I think for us, we really have to show up and participate and give. And then let go.
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Whatever I was able to do with those experiences certainly contribute to whatever I'm able to do as a director. The corruption in that is that most of what I acted in the last 10 years was to steal film school time from these guys. Those were the people I thought I could learn from as a director.
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Every director should take an acting class.
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I think of myself as a problem-solver. I want to go in and help the director and the writer to get the best they can out of the text they're working with.
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I had not been very kind to J. Edgar Hoover. And the field agent had written on - it was sent directly to Hoover - that - the director should see this - `And, besides, Hentoff is a lousy writer.' And I thought that went a bit far.
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As a director, I have the greatest job in the world, but if I don’t push the boundaries, then what’s the point of having it?
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I think the atmosphere on set really comes from the material, but also the director.
