I love to tell stories and I love to work with directors and I think I write really visually, which I think directors like, and I love making movies, so I found something that I'm good at and I'm really happy doing.
If you talk about big trends at Disney, these movies generally are generated by directors or directorial teams pitching ideas to John Lasseter.
DNI director [James] Clapper said as much many, many times, that there is no evidence that any outcome of the election was changed.
I had a whole new respect for directors.
Most of the great directors I've worked with - De Palma, Spike Lee - like rehearsals.
Directors, like actors, get typecast. And because I've had great success with comedy and horror and TV shows, that's basically what I'm kind of offered.
Truthfully, most directors don't direct actors. Every actor is different, so when you're asked, "How do you approach an actor?," it depends on the actor. With some, you do nothing. With some, you're very specific.
That was okay [ working with George Clooney]. One of these days I'll work with a good director.
The process always starts with detailed conversations with the director, followed by a spotting session (deciding where the music goes and doesn't go in the film, and what the music should be saying or not saying) in each scene. This is followed by sending the director demos of each cue for feedback.
When I feel like being a director, I write a novel.
[Bong Joon-ho'] is quite different but technically, he is as clever as [Alfred] Hitchcock. That's saying something. In humanitarian terms, I think he is much cleverer. He is one of the best directors I've worked with. I absolutely adore working with him.
I'm very director oriented.
I thought ['Sailcloth'] was a terrific script. Elfar Adalsteins, the director, is bound to be a director we'll hear from, and the whole thing was really enjoyable.
I've done lots of films with first directors, so it's not unusual for me.
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
From John Huston to Fred Zinnemann and Richard Fleischer and all those great American directors.
[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.
In truth, Edward Teller ran the Livermore Lab, but for public purposes he liked it better to be known as only an associate director
As a filmmaker, it's about surviving and lasting. So many talented people that I've known in my life - directors and writers - just haven't made it and haven't had a chance.
I love British female directors lately.
Big Fish was the first movie that we worked on together, and I had already written it. We had another director, but that director didn't do it. So, it was just a Hail Mary to Tim, and Tim said that he wanted to do it and I was like, "That's fantastic!" But, there wasn't a lot of collaboration because he knew what he wanted to do and just did it. There were very minor changes for Big Fish.
It was great having them around and I have to say pretty weird seeing them all grown up! Plus we have Jeremy Piven; and Ricky Gervais agreed to be in it and Antonio Banderas has a cameo in and that's a testament to Robert. He's such a good director and such a good guy. He gets everybody, because everyone wants to work with him.
With RoboCop, I couldn't be happier because it's such a quality director.José Padilha is a young master.
I was meeting a lot of directors and reading scripts, and I was like, "Well, I'd love to play this part," but I couldn't.
I guess I probably see myself as a director. If I had to choose, I think that that's the aspect of the process that I'm most excited by.
