Directors Quotes
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A good director is very well prepared, and knows exactly how he's going to cut the film, so the shooting is as efficient as possible.
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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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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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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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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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Developing films with directors, developing films with actors, is a poor percentage play for a screenwriter.
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The director's very important to me, particularly when the director has a recognizable style.
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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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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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I guess I'm not jaded because I still believe that there are good films out there, and there are great directors, and there are great writers. It just takes a little bit more perseverance and a little bit more time to find [them].
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As a director, my job is to protect. I protect scripts, actors, cameramen, designers.
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I am impatient with directors who don't know what they want, and the way you don't know what they want is because they want to do one more. "Let's do one more." So, "What for?" I guarantee you there's not going to be a change.
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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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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 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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It's mostly directors whom I get starstruck around.
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The similarity between the big directors I've worked with is that they allow the writer to find a way of doing what they want done without saying 'do it this way.' They describe what they want, then letting the writer figure out a way to do it.
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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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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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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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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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All the directors that I've had the opportunity to work with are fantastic.
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And when I have lived elsewhere, every two weeks I have to fly back to LA. Even New York directors go there to audition. So I have to be there to a degree.
