Directors Quotes
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He Oliver Stone is great. I really like working with directors who know what they want and aren't afraid to tell you, "Do it like this. Don't do it like that."
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I don't want to do just "Hello, goodbye," only for very, very good directors like Jonathan Demme, who asked me to sing this tango in his film The Truth About Charlie (2002). If not, I really take my choices, because I'm too old to say yes to everything, and also, I've done too many good things to go do whatever now.
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My aunt put my cousins into a childrens modelling agency, then my mum did it with us. Me and my sister got a few TV adverts, which was good pocket money. A director saw photos of me and asked me to do a short film.
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The director has to, I feel, be one step back, not only from cinema, but also from politics and all these issues in order to tell and depict the situation that spreads to people.
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Mankiewicz was a brilliant director.
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Like any other actor, I want to work with good directors, and I always look for good scripts. I've had to say no to some people; I suspect that's the reason I'm called arrogant.
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Well, 45-odd years of doing it, so we all pile up the things we like about directors and the things we don't like about directors. And sometimes they're very similar.
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I think every director's different. Every director's got his own style. I mean, when I directed, I basically just screamed for eight hours a day, twelve hours a day.
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My dad is a successful television producer, director and writer and my mom's a director and writer.
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In general, we like to shoot Breaking Bad like a modern day Western, and Sergio Leone is one of my all-time favorite directors.
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I think one third of my work is with first-time directors because I think I should, you know? Really, the difference between a first-time director and a second- or third-time director - I mean there's no director who makes enough movies anyway - but if they're talented, they have it. And there is no movie that is perfect.
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A script is only as good as the director who's making it.
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Some directors are very free and some directors are very specific. It seemed like doing a play.
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Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.
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I think the toughest thing about being an actor in a film is to be with a director who doesn't know what they want. And that can be really, really frustrating.
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Some directors can tell stories and it becomes very intimate and small, and it's almost like a secret. Some directors have the gift of finding a way to show it and tell the story, in a way that brings in the audience.
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It wouldn't have existed without France, and it's a French initiative. As a filmmaker, I owe everything to France - I got accepted at a French film school that takes six directors a year. Once you're in, you make films under the eye of people in the industry. You grow up in front of their eyes.
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It's not often that you get a director, singing the praises of his executives.
Nick Willing -
You often have a great director who's like, "Well, actually I don't even want to reveal you until the end of this scene" or something like that and it totally changes everything that you thought it was going to be.
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I should mention that I am a member of the board of directors of Dimensional Fund Advisors.
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There are directors, and there are authors. I think I am more of an author than a director.
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The main problem is that the Hollywood system has already made the film before the director shoots a single frame.
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A lot of directors are great and they are fine but you know I think that Harry really takes a special point to really engage the actors and really make it feel like a safe place for them to explore whatever it is they want to explore in whatever scene with their character.
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I love directors who talk action as opposed to emotion.
