Director Quotes
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I am not interested in simply working as a director. If I am not making movies that I want to make, that I feel passionate about, or that I feel are hopefully at the level of cinematic quality that I feel they should be then I am not really that interested.
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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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One thing I know is that I don't want to be a director for hire, making genre films.
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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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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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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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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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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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In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.
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When I grow up, I still want to be a director.
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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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The longer I've been a director, the less I have to direct.
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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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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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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 tend to ... if I decide to do a job, want to be able to trust my director...
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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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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 think the atmosphere on set really comes from the material, but also the director.
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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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Every director works differently.
