Directors Quotes
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I'm really, really happy with what I do for a living. I mean, that's what I consider work, like being on set, bringing a character to life and, you know, working with other actors and directors and stuff.
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It's a roll of the dice when you're a first time director so I prefer to work with people that know more than I do, but that happens less and less as you get older.
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As a director you want to have actors, not only surpassing themselves, but also going somewhere, going different places.
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I can make fried tofu, boiled tofu, stuffed tofu. Cutlets and other fancy stuff, that's for other directors.
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Working with [Robert] De Niro taught me a lot about being an actor's director.
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I have worked with some great directors.
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I'm not being offered a constant stream of wonderful parts with wonderful directors that would keep me away from the theatre. When they turn up, I do them.
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Most actors go, 'I read the script and fell in love with it'; I fall in love with the directors.
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I am not funny. The writers were funny. My directors were funny. The situations were funny… What I am is brave. I have never been scared. Not when I did movies, certainly not when I was a model and not when I did I Love Lucy.
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Many casting directors won't hire aspiring actors because you might be burning some chick's headshot under the table so she doesn't get the part.
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I was hired because I am Zsa Zsa Gabor, but when I go to work, directors try to force their methods on me. John Huston's intense, precise directions tortured me.
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Wong Kar-wai and Ang Lee are two Asian directors I'm really fond of.
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I think the three Mexican directors that came before me did a very good job in Hollywood because they came in and started directing things like 'Harry Potter.'
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I am sure I am one of 2,000 film directors in the world that Tarantino admires.
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Every character I've ever played, I always try to take him right to the edge and not allow him to fall over, but directors have a tendency to pull me back a little bit.
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If you're sounding right, you're probably walking right, and vice versa. If you get the footwork right - if you get even one line right in a rehearsal, the director will say, do you know when you said that, it was exactly the character. You were - really landed on it.
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I aspire to be an instrument of the director. I'm happiest like that. The stronger the director, the more I'm willing to give them.
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So I moved to Europe and only came back when directors like Robert Altman would call me after they'd seen my work in Full Metal Jacket.
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I understand the directors much more. I was always rebelling against them when I was a youngster, I didn't want to be told what to do. I had no identification.
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I love the Kathryn Bigelow example: she didn't just do war movies - she did them better than other directors.
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Casting directors now just see me as the hard-core sniper or prison guard.
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I'd love to see more women working as directors and producers.
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I would love to work with Cameron Crowe; he's definitely one of my favorite directors.
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I am half Puerto Rican, a quarter German and a quarter black. That was always a big issue for me - being mixed race - because casting directors tended to be very like, 'OK, are you Hispanic for this role?' 'Or is she going to be African American?'
