Directors Quotes
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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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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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Carbon trading engages finance directors. It takes the issue of energy efficiency right to the top of the company.
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Lloyd Richards is another director who was like that, who was a teacher.
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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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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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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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A lot of really good directors have a killer in them, as if they'd do anything to get that image. But that comes with the terrain and I don't mind it.
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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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I love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.
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A good script and a good brief from the director is enough to let me know what is expected of me.
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Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.
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Getting back in the directors chair - there's a sense of like doing something every year. It's not like riding a bike, you're always learning new things, you're gonna face new challenges and when you face new challenges you'll have an answer for them.
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I have many valentines. My mom and my sister and my directors. I got calls from all of them. And my friends. I respect what Valentine's Day stands for because it is about love
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An accent like mine and a face like mine, I think a lot of the time it's easy for casting directors to just stick me in as a bad boy, but 'Being Human' took a risk on me - bless 'em - and I'm not that bad boy no more.
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Sometimes, the actors are thrilled to have visitors because they're just waiting most of the day. It's the directors that are a little busy.
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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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Sometimes people come in as a director, and they just want the result, and they barely want that to tell you the truth. Sometimes directors barely talk to the actors; they are so focused on the cinematic elements of the movie, getting the shot and getting the lighting right or getting the CGI effects right and all of that, and they just trust that you are just going to do what you do.
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As a director, my job is to protect. I protect scripts, actors, cameramen, designers.
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When a director narrates a character, I find it normal to ask questions about the character's background, mood swings, eccentricities, behaviour... I do this to make my performance relatable. Directors who don't know their characters well find it difficult to answer these questions and, hence, find me annoying.
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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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The whole world of Game of Thrones was realized with such detail, with directors and writers who really geeked out and really loved all the little bits of it.
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Here is how I work: when I think that a film needs to have a principal theme, I search for a melody. I have a very strange melodic gift: melodies come to me effortlessly. So I write melodies-thirty, forty, fifty-then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide. That happened one time with Jacques Demy for the duo of the twins [in Les demoiselles de Rochefort]: I went to his house in Noirmoutier to play 35 possible themes for him.
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I've run into some S.O.B. directors, but I gave them back as good as I got.
