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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A director is a choreographer, both politically and creatively.
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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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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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I'm a performer, comedian, entertainer, writer and director.
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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 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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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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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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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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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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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 fear other actors who are not prepared. And I fear directors who are afraid.
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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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I've learned a lot from Clint [Eastwood], who's an extremely economical director.
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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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David Mamet we all know is a great screenplay writer and playwright and a great director. If you like him, you like him. If you hate him, you really hate him. He's someone who's into controversy, you know what I mean? That's David Mamet.
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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.
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I can tell you it makes a big difference to have a director who is collaborative. What motivates a character in my mind could be completely different from what the director's thinking. You have to have those conversations ahead of time and throughout the process. It affects the performance.
