Directors Quotes
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Every director is completely different.
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For me, to be in a place where I'm on the 'favourite' list of top directors I like, that's being number one. There is no other definition to me. It's not money; it's not how many songs you're seen in or how many clothes you're changing in the film.
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I'm lucky enough that directors sometimes seek me out for little projects that people don't even know about, that just surface later on.
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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?'
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I'm so consistent that my director's cuts are usually 20-25 minutes longer than the released version of the movies.
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'Dirty Rotten Scoundrels' is a good one because it not only turned out, I think, to be a really funny movie but it was also a delight to shoot. We were in the South of France, working with Glenne Headly and Michael Caine and Frank Oz the director - who were just fun.
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I'm a performer, comedian, entertainer, writer and director.
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When I think back on it, of course I got lucky and got great directors and good breaks but all that was the physical part. But what made me a star was that I could take a chance and not have anything to worry about in terms of losing.
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Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.
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Directors have to push me because I never start [high] and then need to be pushed down; I have to be pushed up. Not all the time, but often.
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I love rehearsing, but a lot of directors don't, and some actors don't.
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All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.
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A good director's not sure when he gets on the set what he's going to do.
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I like to think of myself as a fairly educated human being, but I'm a very uneducated actor when it comes to movies, directors, producers, actors for that matter.
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I have worked with top directors like Rajamouli and Vinayak and with upcoming directors like Vamsi.
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Directors, writers, and actors are interested in making movies with me. Producers and movie studio people are not interested in me as they are in Kevin Costner or Tom Cruise. That's just the fact of the matter.
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I fear other actors who are not prepared. And I fear directors who are afraid.
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It is only from the people I've had the good fortune to meet that I am learning the lessons to guide me. Baz Luhrmann, director of 'Moulin Rouge,' for example, has a childlike curiosity about the world. He doesn't pretend to know all the answers - quite the opposite, in fact. He asks loads of questions of everyone.
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When I give over to somebody's vision rather than have an idea of what I need to do, it takes me to places I wouldn't have got to by myself. I'm always attracted to a strong director.
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Now, therefore, the Directors of the company are hereby ordered to see that precautions are taken to make travel on said railroad perfectly safe by using a screw with at least twenty-four inches diameter.
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I've imparted that philosophy to the writers, but some of them look stuff up while some don't. Same with the editors, directors and actors. To each their own.
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I like directors who come on the set and create something that's a little dangerous, difficult or unusual.
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You start out with big dreams and I mean, big dreams artistically. You want to work with the greatest living directors, make a great movie. I wanted to make a great love story, I wanted to make a great epic and then you realize that the truth of it is that it's so hard to make a great film. It's hard to get a great role. Those big expectations change to realism pretty quickly. But what's never changed is my desire to work with great directors and to find projects that push me out of my comfort zone and keep me alive. I still don't think I've done my best work.
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It's because you have no power. You give them all the material and the cinematographer, the director, the editor, boy what they can choose... You better hope they like you because they can slice and dice and make you look like a damn fool when your face and body are up there on a 30-foot screen.
