Director Quotes
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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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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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The relationship between an actress and her director is often a very close one.
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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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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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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 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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Every director works differently.
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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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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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You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.
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When Chris Nolan is your director you are like, "I trust that, I'm wrong."
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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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As a director you have to - you don't have the option of saying, "I'm not watching this."
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As a director or writer, you have to be so controlling.
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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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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 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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You either are a good director or you're not.
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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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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.
