Directors Quotes
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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'd worked with directors who wouldn't collaborate. Then I've also worked with directors who didn't really know what they wanted. I knew I didn't want to be either one of those guys - or girls.
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These directors clearly failed to protect the interest of investors.
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What's interesting is that producers, directors and writers tend to typecast me in terms of whatever movie they've seen me in most recently.
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This is a show I've always wanted to do. I wanted to do this 15 years ago. We lived in San Diego and my church group there was going to get to do it and I had everything ready to go, but they didn't get the rights. They had to change everything at the last minute, and I've been holding on to the script and director's book since then.
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I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.
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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.
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Most of the time nothing much is required of directors, which is a pity.
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I've worked with very few directors who've asked of me what I asked of myself.
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I was on 'The O.C.' and had a small part, which wasn't very challenging. I was a bit bored, so I started shadowing directors and they finally gave me a shot. From there, it led to directing other television shows. I am trying to direct a feature film, so we'll see what happens.
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As far as directors, I'm a big fan of any kind of Billy Wilder stuff. Anything he does.
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ADMIRABLY BOLD. There's something grand about the film's sincerity and the intensity of its emotions and something fresh and bold about the way director Gray uses the conventions of romantic melodrama.
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As a director, I hoped that I was able to help the actors by giving them the space and the respect they need and the trust. I gave them what I always felt I needed when I was working.
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Is it 'left' to insist that presidents and CIA directors adhere to the law? I don't think so. I think it's American.
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Working with actors who are directors is magnificent. Because they understand the art form intimately, and they know exactly how everything works.
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I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.
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I'm shy to call myself a director still. When someone says, 'What do you do for a living?' I don't know if I've earned that.
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'Ides of March' I did for scale - scale as a director, scale as an actor, scale as a writer.
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It's fair to say that if you have a lot of experience, your power is greater. You have more of an opportunity to roll up your sleeves with younger directors.
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I think it's very important to recognize talent in all facets of filmmaking. Making a movie is such a lengthy and intense experience, so it's wonderful to honour actors, directors, producers and all crew members who put so much hard work and passion into a project.
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The nice thing about being a director is that I can say, "I can only get into the room after the kids are at school, and I have to be back for dinner. And they're coming for lunch."
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The way television works is that directors come in and out, and they're not there all the time, following every character through every scene. They're vagabonds who go from one show to another.
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I have a hard time visualizing anything, which is why I'm not a director, and which is why I try to work with ones I know have a strong idea in mind.
