Directors Quotes
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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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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 think that the process of trying to become somebody else, and obviously the director/actor relationship in trying to do that, is such a weird, undefinable thing.
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David Fincher is one of the best directors I know, so I'm really curious to see it. Really curious, and I want to hear Daniel have the Swedish accent.
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Some friends of mine who are actors feel directing shuts them down and kills all their impulses, but the worst thing for me is if I feel a director hasn't noticed.
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I like directors who come ready to challenge you to ask the right questions about your character, and I know that directors appreciate that in actors as well.
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The advice you give to young directors for sure is to go out and become some version of a successful movie actor. Do that first and say yes to people like Terrence Malick and Clint Eastwood and Woody Allen when they come and offer you movies. It's a great front row seat to filmmaking.
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As a director, I do very few takes, because I feel like you hire the right actor and they'll do the job right. And the directors that I've worked with and had the best luck with - Jason and [ Steven] Soderbergh and the Coen brothers - all have been that kind of director.
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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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One thing about being a stand-up is it's a one-man show. You gotta do everything. You're the producer, writer, director, and the actor. You just gotta be out there and perform and give your all. It's such an honest form of art that it just taught me so much, and it kind of prepared me for manhood at an early age.
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All the directors that I've had the opportunity to work with are fantastic.
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I can count on one hand the directors who actually directed me.
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My advice for other female directors: don't think of your gender as a handicap. Don't think about it at all. Just tell the best story you can, and don't stop until you do.
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Carbon trading engages finance directors. It takes the issue of energy efficiency right to the top of the company.
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I never worry about what they think about me. Because I feel so far away from what my Italian colleagues have done that I almost automatically become an isolated director.
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It's an extreme to go from an artist like myself to a commercial artist with art directors looking over your shoulder, or any other knucklehead telling you what your art should look like.
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My mother was an actress. My father was an actor and a director. I am the son of filmmakers.
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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'm always being told by directors that I add chemistry to scenes, so I mean how difficult could it be?
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I'm trying to work only with established, respected directors. I took a lot of bad scripts and worked for a lot of lazy directors, and it was discouraging to go to the screenings and see that the director had added nothing, the editor had added nothing, there was nothing to see.
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As a director, my job is to protect. I protect scripts, actors, cameramen, designers.
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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.
