Directors Quotes
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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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The performance is created by the director. The actor is the material. And I think that has to be true.
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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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James DeMonaco is one of my favorite directors I’ve ever worked with. I think he shoots really well and all that, but the work environment he creates – he makes everyone feel respected, he makes everyone feel appreciated, and he’s a true collaborator.
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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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It doesn't matter if you work with an Oscar winner or if you work with an unknown actor. There is always a collaboration between the director and the actors, and you always have to listen as the actors have to listen to you as a director.
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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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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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As an actor, youre always nervous as to what a director will do with something.
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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.
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I've had the opportunity to work with so many great directors. Different styles, as well, like Gus Van Sant. He just does the casting and the milieu and let's you do your thing, quietly. Bertolucci, who can talk to you about your internal world in quite a creative way or just say, 'Well, put your hand over here.'
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I am very happy that I am getting to play such layered and demanding characters. I feel blessed that directors are trusting me with such roles.
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Directors are the captains of the ship, and it's your job as the lead actor to make sure that the rest of the cast understand that by doing whatever he says.
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So I'm here, and not being one for missed opportunities, I made a list of the casting directors in New York and mark off the ones I've already met over the years. The few remaining I asked my agent and manager, "See if you can set up some meetings while I'm here."
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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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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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If a director takes the time to document - to step back to observe - I think it I more honest. Because it has to be the public that makes the conclusions and who, possibly, resolves the situation.
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Subtle, funny and touching, with a striking downbeat authenticity. Director Craig Zobel is the real thing.
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I'm not aware that I was consciously influenced by any director, though these things often happen unnoticed, submerged in the unconscious.
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I like meeting directors. It can be helpful because sometimes when you meet filmmakers you find out if you like them and if they like you, and that is important in terms of considering a role. Choosing a role is all about whether I relate to the role and the story really. That's the criteria.
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I like working with directors because I'm really opinionated about what things work and may not work, what audiences like and may not like, (not really) but I do have opinions about things. I like to be able to say them and then have them acted on. The director who responds to me like that, always gets my appreciation. I do appreciate it. What I find is the best directors, no matter what kind of name they have, are like that.
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All of the directors I've worked with I've gotten along with very well.
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I've worked with some very good directors and some very bad ones. I learned a great deal from both. From the bad, untalented people, you learn what not to do. And when you work with very highly talented people, you want to emulate them.
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I think Van Sant is the most important American director we have. He takes the most risks. He's just pure to me.
