Directors Quotes
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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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For me, architects and film directors operate similarly. They are practical. As an architect, you know what you want in the conception of a space - but you still need a lot of people to help you out. You need an engineer, interior architects. But a film is the same - you have all these elements. But in terms of concept, it's always about time. When you approach a building, you need time to go from point A to B. Buildings are designed as a journey and films are the same, you have an opening that you come through, an angle you follow, maybe a disruption in space.
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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.
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It's strange - some directors are really talented but they can be so precious when it comes to letting you be a part of it.
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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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I think all directors should be animators.
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When you're shooting a low-budget movie you're never just the director: you're also in the catering department, and hair and make-up and a part-time grip. I can't even imagine the luxury of not having to keep an eye on every aspect of production while directing.
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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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My acting experience has been a benefit. What I learned from directors is how to listen to and talk with actors. I know how they think and what they need.
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I can count on one hand the directors who actually directed me.
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Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.
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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 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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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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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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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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It's impossible to put your finger on what that is exactly other than protecting the environment that the actors get to find the scenes and build the scenes and invest in them. I think that's key and that's what I've learned from all the great directors I've worked with.
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Ultimately, a more experienced director realizes that you've got to stop sometime and just move on. They're braver about that.
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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 began taking liberties a long time ago; now it is standard practice for most directors to ignore the rules.
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Developing films with directors, developing films with actors, is a poor percentage play for a screenwriter.
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All the directors that I've had the opportunity to work with are fantastic.
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I'm happy to have a physical part in 'High Tension,' in 'Hereafter,' and in a lot of French movies and Belgian movies. But its not by chance directors choose me for physical parts. I like to do that. I like to tell a story also with the body. It's important, because you can tell a lot of things.
