Director Quotes
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From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.
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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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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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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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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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In Germany, actors tend to be more laid-back and take orders from the director: 'Tell me what you want.' I'm more into collaboration. So are Americans.
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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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I learn a lot from every director that I work with. I sit on set and watch them, every one.
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Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.
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When I work, I work very hard. So I look to work with people who have that level of dedication. And I depend on that from everyone. From the director to my crews that I work with.
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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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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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As a director or writer, you have to be so controlling.
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I tend to ... if I decide to do a job, want to be able to trust my director...
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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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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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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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You have to be willing to be manipulated in the first place because you can either recognize that in your director and then fight it because you don't trust them, but I'm not going to let them manipulate me. Or you think they're on to something and that they're manipulating something out of you which is interesting and new.
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I think the atmosphere on set really comes from the material, but also the director.
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Every director works differently.
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When Chris Nolan is your director you are like, "I trust that, I'm wrong."
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You either are a good director or you're not.
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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.
