Directors Quotes
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My father was a film-maker. He always said he wanted to go like Humphrey Jennings, the legendary director who stepped backwards over a cliff while framing a better shot.
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Some directors, like Stevens [George Stevens], shoot full circle, 360 degrees, and that's what's right for them. I generally shoot at about a seven to one ratio. But part of that is because I've worked on every screenplay, so I'm further along in the visual concept.
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Another mistake a director can make is not to be prepared, so you get there on the day to shoot the scene, and they don't know how it should be blocked, and they're not clear on how they want to do a scene.
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You have to be strong to be a carpenter, maybe, but the director of a film doesn't need to have muscles.
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As an actor, youre always nervous as to what a director will do with something.
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Subtle, funny and touching, with a striking downbeat authenticity. Director Craig Zobel is the real thing.
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It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script.
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I have done films where we all thought the director didn't know what he was doing and it is going to be a gobble gobble turkey. And you go and watch it and it is great.
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I love supporting emerging voices, and new writers and directors. I love engaging an audience in a way that doesn't have to involve me, personally, and yet still generates an experience for groups of people.
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You really have to bring your game and know what you want to do. And then, there are the producers and the writers and the director on the other side of the glass, and what they want. You have to be malleable to what's going to work, and you have to stay in the framework of the context.
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You don't have your film finished when you have your director's cut finished. It's just a bunch of green screen.
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I think when you work with really wonderful directors who have a really strong vision, it lets you as an artist set the tone for your own career.
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Women think in Sirk's films. Something which has never struck me with other directors. None of them. Usually women are always reacting, doing what women are supposed to do, but in Sirk they think. It's something that has to be seen.
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I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.
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Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
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Every day is still exciting. I have like a very good system worked out with my editor. Some directors are in there every day, sitting there in the room with the editor. I lose perspective incredibly quickly, and so what I do is I watch...I come in the room and give very specific notes and then I go back to my house or in my office and I watch the dailies.
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I rode it once, which was up the driveway in the opening credits of the show. I didn't know how to stop it. I actually nearly killed the director of photography, and I smashed into the sound truck.
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As long as you have a director, that's your feedback. It's the director telling you, "Okay. That was great! Okay. Can we add a little? Can you tweak it like this? Can you make it more high pitched? Can you give it a little growl?"
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There are things that directors know about me that people shouldn't know.
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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 just think there are a lot of celebrities who don't feel that they have a voice. A lot of actors come from a place of fear, and that's just a general statement about actors. You're terrified the casting director won't like you, you're terrified the producer won't like you, you're terrified the director won't like you, and on and on.
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Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.
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I think if I were asked to do as many as fifty takes, I would assume the director had no idea what he wanted, and was just hoping, eventually, to see it.
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The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
