Different directors offer you different things, and it's not necessarily the most obvious things.
There were many films made for both cinema and television, and in general I don't connect them very much with our books. I have one favorite: 'The Man on the Roof' by director Bo Widerberg, which was based on 'The Abominable Man.
For me to get to work with a writer-director over time in developing a project - my investment feels much more profound. I know that whatever is on the other end I'm going to feel that much closer to.
You don't have your film finished when you have your director's cut finished. It's just a bunch of green screen.
I'm so consistent that my director's cuts are usually 20-25 minutes longer than the released version of the movies.
The first time I ever intersected with the quote unquote industry or Hollywood or being given a paid job as a director all came because of the reputation I got coming out of Sundance as a veteran Sundance filmmaker.
I'm not one of those directors who can just kind of walk away from the edit room and come back and check in.
Hmm, can I be obvious and say there is probably a double standard for male vs. female directors? Sadly, I think that's actually the case. And it probably stems from the fact that there are proportionately so many fewer women directors than men ones that each project is perhaps more closely scrutinized for its content.
I feel like this is the way I was meant to interact with acting. Which is as a director, and helping, working with actors to find their way. Facilitating their performances is so satisfying for me.
The lack of women directors is a sad fact of life. Kathryn Bigelows thrilling Best Director win may help turn things around.
Directing is the last frontier for women in the movie business. We are studio heads, we are producers and we are writers, but we are not directors in any numbers.
I absolutely loved it, and I loved the way the character of D'Artagnan had been portrayed. I was just well up for it. So, I went in and met (director) Toby [Haynes], and as soon as I got into that room, to see how excited everybody was to get this underway and onto the set, it just drew me to it, even more. It was an instant attraction, so I was delighted when I got the offer.
Some directors are like it's their... nothing can change, nothing can move. I like collaborating, even when an extra has an idea, I like to bring to really have collaboration.
Its true, Im the youngest, highest-grossing French director. I have a few records, but no one knows or simply doesnt care. Thats good, because I like that. Ultimately, I want to keep working, making a lot of movies, and get better at it. Its about finding great scripts and bringing them to life.
As he demonstrated with 'Juno' and 'Up in the Air,' Reitman has an uncanny knack among contemporary directors for tapping into the zeitgeist in dramatically satisfying ways.
The hardest thing, as a producer, is to find a director who does the picture for all the right reasons, and not just because they know it's successful or that they can do a good job, but in their bones, they love that genre.
It's so hard to find a director who, when you look at their body of work, you like everything.
It's really hard as a screenwriter, you feel like you have a vision and then you turn it over to a director and you have to let it go.
I'm just trying to find a good project. Work with a good director, someone I really admire. Find a good role.
My ideal role would be the lead in a film with a director that I really appreciate and admire.
I started working with James [Schamus] early on, and my role as an executive producer was more about being involved in the conversations of putting the film together. I didn't have to do much work because James is the most experienced first-time director you could imagine.
I didn't even know what a film director was. To me, Charlie Chaplin was a goofy clown, and John Ford - what? Never heard of him.
A male director doesn't come to situations the same way that a female director would.
There's something special about working with picture and adding music to picture that really takes you to a whole new level. It's always the director's picture first, and I'm there to help tell the story.
I made the transition to directing documentaries with the great help of my Co-Director on The World According to Sesame Street, Linda Hawkins Costigan. She was a gracious teacher, and a wonderful collaborator.
