Directors Quotes
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When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like youre in the way.
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In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
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I didn't really know what I wanted to do, and then I got this call from a casting director in Los Angeles. She remembered me from something years before, and she called my mom wanting me to audition for this thing.
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Developing films with directors, developing films with actors, is a poor percentage play for a screenwriter.
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Now I'm kind of established as a director, I much prefer directing to writing.
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Every film had its own grammar. And it's your job as a director to basically figure out a language to tell a story.
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I was lucky that I was getting exposed to a lot of different kinds of films, and I was liking them all. So it seemed logical to me that you could - as in the style of the studio directors of the 30s and 40s - jump from one genre to the next, with the same satisfaction.
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I happen to have worked with male directors who don't understand women at all. Not at all. I'm flabbergasted by their ignorance.
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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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In my experience, directors who are the most comfortable with themselves and confident in their work give you and everybody on the crew the freedom and the space to create. It's the people who are more insecure who feel the need to control and micromanage.
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I would say it was the directors. We have to give credit to the directors for this, because in the script, we just said, "Gru's Minions do this or do that" in the initial draft. And then, they came up with the characters' design and the philosophical concept of the Minions. And then, we started writing to that. We have to give a lot of credit to them.
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Music video directors, who conceive, write and direct these works, enjoy no creative rights, receive no ongoing financial benefit from the sale of our work, and many times are not even credited.
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But then foreign critics right away made sweeping comparisons to haiku, noh theater, and directors like Ozu, as if the movie were somehow representative of Japan - which was, well, not what I was after. Similarly, with After Life, I deliberately set out to make a movie that was unlike what I imagined the foreign conception of Japan to be, and I figured non-Japanese wouldn't find it interesting at all.
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Also one of my heroes is Syd Mead, who designed the vehicles for the first Tron. So, there are so many beautiful things happening here. And working with Joe was great. He's an architect, so I worked with other directors in between who were just about the action.
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I think all directors should be animators.
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Now there are three guys who directed "Twilight" films that had a gross of a gazillion dollars. All those "Hunger Games" guys, the "Divergent" guys. All those people. When they are looking for the next big director, they see they have a track record. So there's 20 people that spun off of "Twilight" that have more qualifications than any woman.
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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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It's hard on an actor when you have to do a scene 45 times and you know damn well that three of the angles a director is shooting will never make it into the movie.
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I can count on one hand the directors who actually directed me.
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Sometimes, directors are afraid to stop shooting, because the second you stop and say, "We got it," and move on, you'll never get another chance. And they're terrified to get in the cutting room and not be happy. So they just keep shooting.
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You would be surprised how many directors don't know what they want. They might not know what they want until they see it, they might know what they want but no idea how to get it out of the actor, then you've both got a problem.
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If someone suddenly lost their director the day before shooting and wanted me to step in, I'd be willing to. But I'd do brain surgery the same way. I'm always up for something new.
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Certainly as actors, and maybe as directors, you've got to hang on to something childlike. You've got to know what play is. I haven't worked with Mike Leigh, but I know him very well and there's something open in his eyes about what's in front of him. And the same is true of Alfonso in a Mexican, mad way. There's an enthusiastic response to something. Neil Jordan, the same, when he gets excited . You just want to know there's a human being in there.
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I really like directors who give you a certain amount of autonomy because I think a lot about my characters and I think a lot about scenes and choices.
