Directors Quotes
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It was never a deliberate decision to make films about the 'woman experience'. Having said that, we are all many things - for example I'm Igbo and Nigerian, a director, a filmmaker etc., but I feel what affects me the most, especially the way people/society view or treat me, is the fact that I'm a woman, and I'm fascinated by that.
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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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Directors have to push me. I have to be pushed up. Not all the time, but often.
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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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When people think of diversity, they think people of color, but it also means women, who are severely underrepresented as directors, writers and producers.
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I used to work for an NGO called Transitions Online, and I was their Director of New Media. I was a very idealistic fellow who thought that he could use blogs, social networks and new media to help promote democracy, human rights and freedom of expression.
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I think since I did Monster I really started understanding how hard it is for first time directors. I think there's a lot of great stories out there, but it's high risk.
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Nobody, except Russian directors, can truly reveal all the features of the Russian soul.
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It's always fun to get to do independent film because I believe that that's the life blood of film. It's about writers and directors who truly have their own vision, and that's hard.
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I worked for a lot of directors.
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Once there are more African Americans and Asian Americans behind the scenes as producers, writers, and directors, I think more inclusive casting will happen.
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I think you have to have different tools for each job - you know producer is very different from a director and very different from an actor.
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Be what we make, and not who we are.
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I love working with actors. If you cast the right person in the right part at the right time, they make you look like a better writer and director than you really are.
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I'm lucky. I'm getting older with some directors who are getting older.
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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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A good actor's director, first of all, is prepared, so there's not an exorbitant amount of wasted footage.
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In some way, the relationship between a director and an actor is personal.
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With an inexperienced director, a lot of times the days go on to 14, 15, 16 hours. It goes horrendously overtime. And because of the lack of money, they just keep you there, regardless of the hours.
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I get to play a great character while working with great actors and great directors on a great show.
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I love Malcolm Lee and jumped on the opportunity to work with him as a director.
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I try to just make what I want to make or what I would want to see. I try not to think about the audience too much.
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The writing is really hard. You're alone. It really pulls it out of you. You pull it out of your head. But when you're a director, you're shopping - you're picking this actor, you're picking this scene. It's like the most intense kinetic high-speed shopping of all time. You sit in a chair and it will all come rushing at you like a wind tunnel.
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No director wants to be directed, but no good director... would shy away from the good ideas of others.
