Director Quotes
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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 blame any director for wanting to do something more commercial. That's all part of the business. I certainly have done it, as an actor.
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I don't worry about what everyone wants to see. I make movies that please a writer, director and myself. I always think there are enough people smart as me and sensitive as me.
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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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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 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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You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.
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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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Working with a great director is like getting a master class in acting.
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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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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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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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When Chris Nolan is your director you are like, "I trust that, I'm wrong."
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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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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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As a director or writer, you have to be so controlling.
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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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You either are a good director or you're not.
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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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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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Every director works differently.
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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.
