Director Quotes
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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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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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Working with a great director is like getting a master class in acting.
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But I am very confident that David Pleat, the director of football or whatever his title is now days - I am very confident that he, with all his media commitments around the world, knows the market place.
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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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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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Vicky Donor or Madras Caf, John's films have been path-breaking. I have full faith in the script of my movie, and my director, too, is a debutante. I like the conviction with which they work, and that gives me a lot of confidence.
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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 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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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 learn a lot from every director that I work with. I sit on set and watch them, every 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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I tend to ... if I decide to do a job, want to be able to trust my director...
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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 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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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 or writer, you have to be so controlling.
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When Chris Nolan is your director you are like, "I trust that, I'm wrong."
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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 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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Every director works differently.
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I think the atmosphere on set really comes from the material, but also the director.
