Directors Quotes
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I really do like working very closely with a director and developing characters.
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As an actor, I love working with directors. As much as I love working with other actors.
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So I write melodies - thirty, forty, fifty - then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide.
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There are so many female directors coming into the industry and a lot of them have important stories they want to tell that seem to fall a little bit more on the indie level.
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If you're not grown up enough to understand that a trailer is not done by the director, then fine. Judge the movie from the trailer.
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Bad directors will tell you they absolutely know how to do it, and how it has to happen; there's this insecurity that leads them to feeling like they have to control everything.
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I learned a lot of things from those big, big directors. And a lot of it was what I didn't want to do.
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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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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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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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The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.
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The director of the FBI has been visiting Silicon Valley companies asking them to build back doors so that it can spy on what is being said online. The Department of Commerce is going after piracy. At home, the American government wants anything but Internet freedom.
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There are plenty of bad actors and there are plenty of bad directors. There are actors who will always be bad and there are good actors who you cry for because they're being badly directed or the material isn't good enough.
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There are the obstacles of your position as an actor, not being a commodity enough to be hired by the big directors for projects that have some kind of integrity, because the successful actors who've been in the game for a while want those roles. So there's more competition, so you have to work harder and be right for it.
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When a director makes a mistake, people suffer. People suffer horribly sometimes.
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I would prefer to work for directors who give me the script and written screenplay at the outset.
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A script is only as good as the director who's making it.
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I love it when the director says, 'Rebel, just do whatever you want.' I'm, like, 'Yes!
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You've got to be flexible. Directors do a massive amount of planning and homework, and if after all that your director decides to throw it all out of the window and shoot spontaneously, then you must follow his lead.
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I wanted to just surround myself with people who I think are better than I am, whether they're actors or directors or producers, so that I could learn from them.
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I've worked with a lot of great directors.
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The contemporary Japanese directors who are well-known in the West - say, Kiyoshi Kurosawa, Takeshi Kitano, Naomi Kawase - are mostly unknown to Japanese, particularly of the younger generation.
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I'm not really a director or producer for hire. There's lots of big gigs out there, but I'm not looking to do that. Usually, when I'm directing or producing, I've written it myself. I'm not really trying to get on some big horse that's running through town. I just make my own stuff.
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As a director, you try to do things that are going to touch the human experience somehow, and emotions that mean something to people. You search for those projects and you hope to realize the potential in a project.
