Directors Quotes - Page 59

Were I not married to the director, I'm not sure I'd know anything about the 'Underworld' sequel.

Even with revivals, I dont really pay attention to previous incarnations. I always just go with the script and with the director and am willing to treat it as brand new.

I knew that [director/screenwriter] Catalina Aguilar Mastretta had an amazing take on the female psyche and the modern woman and the modern immigrant woman living in the U.S., and I really saw the need for a story told of our daily lives without being a statistic and without just trying to hit a demographic, and I felt that with this one.

I've worked with some absolutely wonderful directors who bring out the best in me and I know I can trust, and then I've had the opposite experience, too. I've had both experiences, and obviously one is good and one is not good. When they're great, it's good. When they're not great, it's not so great.

I try to offer as much as I can to the director so he has as much to work with as possible to create the character that, really, he wants to create in a sense.

In creating music you are the writer, the director, the producer, you create it from scratch. Obviously in playing a role in a film, you take guidance and put your trust into the director. You come into it and you really trust people.

A big thing for me is trusting the director, so I don't need to watch playback. I feel like the director is gonna tell me whether it's right or not.

But, I think it's great to be able to work with established directors, and then also first-timers. I feel like you learn from both of them, but then you can go and share your knowledge with each of them. That's really fantastic!

When I do a film, usually I work from my director. That's my boss. The director is interpreting the writer's vision, and we all interpret it, and they create their own vision as well.

Sometimes I call directors. Sometimes I just meet with them. It just happens. It's not that I'm pushy. It comes naturally. But I go ahead. I don't stay in my armchair, waiting for the phone to ring.

I'm very patient and always willing to try things but I have some resistance as well because I have my own vision. I have resistance sometimes because I see a director who's freaking out and wants to have control and they sometimes anticipate about what I'm going to be doing or not.

The idea that all violence in movies is okay simply because it happens is bull. Directors and writers have a responsibility.

I detest producing. I mean, I feel like I do it to enable myself to do all the other stuff that I do love, but I find it's in conflict with the other roles because the producer needs to be the one who says "No" and the director and the writer need to let their mind be free.

My very first news director said to me that it's better to be hated than to have viewers be neutral.

You know, making an animated movie is such a lonesome thing. You mostly don't see your fellow actors or anything. You go into your booth, you record all your dialogue. It's very much an issue of trust. You leave it all up to the director.

I'm at the mercy of others because I'm not a director. I'm not a producer. I'm not a writer.

There are lots of good directors I would like to work with; I want to be inspired and challenged by them.

As a director you want to show the truth of people and sometimes that's unflattering, or it's not something that people want to see.

For most directors, the scriptwriter is about as welcome on set as a member of the Taliban.

I like a director that encourages me to be playful. I don't really like being restricted or controlled by a director.

I like a director who is very observant and is watching what I'm doing and noticing what I'm doing, but is giving me time to figure it out. They don't jump right in and give you a note before you've had time to really search on your own with how to do a scene.

Although filmmaking is collaborative and involves trust, ultimately it is the director who holds the whole picture together in their head.

Also a good director and good dialogue. That's very important because you're bringing the words to life. So it's very important for an actor to have good dialogue.

Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.

[John] Hughes was open to that [rehearsal]. This can only happen if the director and/or the writer are open to that.