Directors Quotes
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In any of the big acting cities, there are breakdowns that the casting directors put together for the projects that they're working on and then they get sent out to the agents and stuff like that. It's difficult to find projects, sometimes, unless your agent or manager is submitting you for those specific projects.
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For some directors, I'm the actor from hell.
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I was thinking what an interesting concept it is to eliminate the writer from the artistic process. If we can just get rid of these actors and directors, maybe we got something here.
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I'm so tired of hearing casting directors ask if I have a sore throat. The people who have told me that my voice is distinctive, it's unusual...those people have always been close to my heart.
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You have to be submitted for the Pulitzer, and unbeknownst to us, a choral director whom I know had submitted us.
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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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As an actor, I love working with directors. As much as I love working with other actors.
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All directors should have to act and all actors should have to direct, so that they can understand all these key things that come into play with whether you can meet your day.
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There are a million ideas in a world of stories. Humans are storytelling animals. Everything's a story, everyone's got stories, we're perceiving stories, we're interested in stories. So to me, the big nut to crack is to how to tell a story, what's the right way to tell a particular story.
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As a director, your job is to make sure no one for any reason is taken out of the film. Sometimes it's impossible and sometimes things don't come out the way you want them to, but I think you have to work really hard at making the world engrossing and details are a major part of that.
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All the directors that I've had the opportunity to work with are fantastic.
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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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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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Reviewers are certainly entitled to their own opinions. I've become buddies with enough writers and directors, and to be perfectly honest, the ones that have lasted a long time don't pay a lot of attention to the reviews.
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You could name the great stars of the silent screen who were finished; the great directors gone; the great title writers who were washed up. But remember this, as long as you live: the producers didn't lose a man. They all made the switch. That's where the great talent is.
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A lot of times, directors don't know how to speak to actors, or writers don't know how to communicate.
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At almost forty years old, I assumed my career on camera was over. And I was certainly given that message by all the TV managers and news directors who passed on me when I was trying to get a job back in the business.
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Directors have to push me. I have to be pushed up. Not all the time, but often.
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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 would prefer to work for directors who give me the script and written screenplay at the outset.
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In relationships with a directors I want to be able to give and take, and I can't name what it is: respect, energy, investment in the task, focus, humor, intelligence, but I always feel responsible for taking the money.
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I have a problem with writer/directors, personal. I can't work well with both of them on the set, if both of them are giving instructions. Writers tend to be in love with what they wrote. You can't always translate the words into the meaning, sometimes the meaning is better served without the words, difficult to make a writer to try to understand that. It gets, sometimes, tense.
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As a director, you just have to kind of like just get through the first project before starting on the next one.
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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.
