No English director would've cast me as an officer, I promise you. Not one.
I have half a dozen designers who work for me, they 'realise' most of the design work, and I act as the design director and the main point of client contact on each project.
I love doing big movies. It's awesome! You have all these toys. The thing I like about this movie is, like they always say, directors have the biggest train sets! Don't tell anyone, but I'd do this for free.
There's a bunch of directors that I really admire, and Australian ones as well. It would be nice to do a film at home.
In my own life, I have noticed when I have been meeting directors, that the same sentence with the same inflection can be said by a man, like: "Get me this." But if the same thing is said by a woman, it's seen as harsh and unacceptable. That always fascinates me.
I don't have a favorite director just like I don't have a favorite color or I don't have a favorite food. I like everything.
In my own experience of male and female directors, people have a much, much harder time taking a direct command from a woman. It's somehow very difficult for people.
Directors love to do music, they've been doing that all along.
When I was shooting with Tarantino and Mike Mills and amazing directors, it made me think that I would never be a director. It's obviously too hard.
I always choose my movie because of a director and a story and a, a character.
Every time a director calls me and says, 'If you practice a lot in two months, can you be an American?' And I always tell them, 'Well, maybe but I'm French. So it's going to be hard to be someone else.'
A good director has to be a captain - he has to work with a lot of people every day.
I'm not a feminist, but I just think it's a really cool process working with a woman as a director.
I've been very lucky to work with a lot of amazingly supportive directors.
By the time I got to be director of product management at Thomas-Conrad, I was in a better negotiating position, as I had accumulated more accomplishments and gained a reputation for having a great work ethic.
If you knew my wife, you'd be like, "Yeah, you're very married." She runs the household. I refer to her as "the greatest director I've ever worked with."
I hooked up with director Jacques Audiard for this film called 'Rust & Bone' with Marion Cotillard. I loved that experience so much I'm truly sad that it's over!
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.
It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.
Maybe if we sit out for the next few years and let Clint Eastwood get a little experience, he's going to be a good director.
As somebody who makes his living in the movie business and wants to contribute to it, I think that the best chance I have of doing that is just consistently working with great directors.
There are people who just collect a bunch of footage and then edit it later. You definitely feel more protected when a director is moving on when you've actually felt something happen and you know they're watching intently.
I think what makes a good actor's director is the same thing that makes a good director. Acting is just one of the trades necessary to make a movie.
Being the director is really something. It's a statement of something and you have to stand up for that. Okay, this is what I see. This is how I see the world. This is how I see cinema. And you have to be able to talk about that and explain it and be responsible.
When you're an actor, you're very much exposed, but in a strange way you're totally protected behind a character, behind a script, behind a director.
