Directors Quotes
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When I just write something, it's usually because I love it, I love the material, but I feel like I really need a creative partner to crack it. And I certainly need and have a lot of creative partners as a director.
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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.
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Unfortunately they're practically all dead. And many were my closest associates: friends, co-directors, whatever you want to say - my partners in crime.
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I can count on one hand the directors who actually directed me.
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The ladder of success in Hollywood is usually a press agent, actor, director, producer, leading man; and you are a star if you sleep with each of them in that order. Crude, but true.
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I feel like a lot of the young actors that are just coming up are really good. I think directors are directing better.
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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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The director's very important to me, particularly when the director has a recognizable style.
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Directors work 10 times harder than anyone else. Get paid a quarter.
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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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For many years, my favorite director has been the Japanese giant Akira Kurosawa.
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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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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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I don't think Hollywood makes many good films anymore. How many directors can you really trust to have an artistic vision, not a corporate vision or a watered-down communal one?
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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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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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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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People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.
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I like bold directors. I like directors that go against the norm in a way.
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Honestly, I look at the project and I look at the people attached and I look at the director. If it's a role that I feel will help me, as an actor, then I'll definitely take it.
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I was lucky, life provided a chance to work with great directors and actors.
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As an actor you're only as good as the things you're offered. And there just weren't any female directors offering me things. So when you dissect that, you realize there aren't women offering you things because they don't have the opportunities. I work to raise money for women's cancers; I use my voice for violence against women.
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Lloyd Richards is another director who was like that, who was a teacher.
