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 think that artists don't make art - the art makes itself through us. I'm not the doer. I'm just along for the ride. Acting really reminds me of that because I don't write the words; I don't make the decisions. That's the director. Narcissism is a tragic condition. It must be so miserable to live trapped in a reflection that only includes the smallest version of our identities. Our true identities should have no bounds and no limits.
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Working with a great director is like getting a master class in acting.
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What a director is looking for is someone who will follow you and no matter what. And if you ask for blue, he's gonna try blue. And if you say, give me a piece of red with it, and they try. And you don't mind so much if it's difficult to get the blue and the red together. As long as they try. And as long as they give everything they can to give you what you want. That's what I'm looking for.
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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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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 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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That is a big turn-on for me, a director who knows what he's doing and what he wants, and knows when he's gotten what he wants.
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Every director is always directing around the play. If you have an actor who really doesn't get the character well enough, you have to direct the play around that character. You have to make choices with that actor. If you have an actor that really doesn't get the role and has certain visions of the role, sometimes you have to direct around that actor.
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Many times I felt like I'd do better than what the director did, but some of them got a little discouraged because they didn't have full charge of making the film, and sometimes there'd be battles of egos.
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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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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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I think that what kind of is making this different is the creative group of us that has come together and we're all kind of on the same page working towards the same goal. So it is a real collaborative effort of our hearts more than it is oh you have the writer, you have the director, the producer, whatever.
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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 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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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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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 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 think the atmosphere on set really comes from the material, but also the director.
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Every director should take an acting class.
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It's important for me to work with a strong director because I know I can go to some really deep places, I just need direction on how to get there.
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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.
