Directors Quotes
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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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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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Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.
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I'm very proud of 'The Words' and all the cast. I think Lee Sternthal and Brian Klugman are like new directors, and I really believe in them, and they're gonna rock everything.
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The collages I never wanted to sell. I thought it was a very private thing, so I kept the collages. Then, in the end, I had a big collage in the Pinault Collection in Venice and the director of the Centre Pompidou said, "Did you make big collages like this in the '60s?" I said yes, so he came to the studio and said, "Let's make an exhibition in the Pompidou."
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My whole family is very artistic - my uncles are all actors and theatre directors.
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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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I do feel, like everyone, there's not enough female directors out there, there's not enough female producers, and would like to see more people get more opportunity, more opportunity for roles for women.
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There are two kinds of directors: There's the kind where two plus two equals four, and you have to help them figure it out. And then there's the kind that throws you in a room, locks the door, sets the house on fire and films it.
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Directors love to do music, they've been doing that all along.
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It's very difficult to put together an independent movie and a lot of times people really don't hire casting directors for that. Instead, they look for people that they've seen in other movies or they're friends with.
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I've done so many movies with first-time directors, and honestly I just go with gut instinct. People that usually can tell me a good story, and talk to me about why the movie is the movie they want to make. I just go with my gut.
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I came across awful characters when I got some kind of status and came to Hollywood. Then you have directors trying to sleep with you, assuming that you will do things because of the way you dress.
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I think producers are more interested in backing concepts than directors and writers. I don't think that's the right way of making a decision about whether you're going to back a film or not.
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I had no plans to be a director.
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Every opportunity I've had to work and act with incredibly talented directors, like Dean Holland was on 'Love,' and the writers and creators of that show, Judd Apatow, Paul Rust and Leslie Arfin, have been incredible learning experiences that have informed my creative process.
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But I did on projects that I produced, that I directed, that I acted in because it was important. I want to be a filmmaker. I don't want to be an actor who directs, I want to be a director. I want to be a filmmaker. So that's a big difference.
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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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My husband is a director, and I understand what it takes to direct. It's a skill set where you have to be able to talk to actors and understand them, and I don't. It's a very different way of being in the world, and I much prefer writing and producing.
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At the moment, it actually says nothing about a possible cosmic-ray effect on clouds and climate, but it's a very important first step.” This may be because he was ordered to speak circumspectly. According to science writer Nigel Calder, Rolf-Dieter Heuer, the director of the CERN lab, told a German newspaper that “I have asked the colleagues to present the results clearly, but not to interpret them. That would go immediately into the highly political arena of the climate change debate. One has to make clear that cosmic radiation is only one of many parameters.
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The director's job is to know what emotional statement he wants a character to convey in his scene or his line, and to exercise taste and judgment in helping the actor give his best possible performance.
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As Claude LeLouche said, his favorite American director is Sergio Leone. Not because I would be American, but because I was dealing with subject matter that an American could have just as easily dealt with.
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You'd put yourself in a play and get to know the system and learn how to be directed, and then you could be a director. So, I've just always done it. It was always a hobby. The funny thing was that when I started to get paid to do it as a professional job, I lost my hobby. I don't know what to do. I have to take up something else now.
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As an actor I can sort of smell a duff note, that isn't full of that much conviction. My worst thing with directors is when I know more than them about the character.
