Directors Quotes - Page 68

I want to work with great directors. I want to work on good material with good actors. I've probably done 20 movies at this point and a lot of independents. It's been an incredible ride and I love it and I'm just going to keep going and doing what I'm doing.

I think every movie is its own little world, and a director certainly sets the tone.

Sometimes directors may not give you words, you know? They may not talk at all! You've just got to use your radar to figure out how you can get to the center and not lose yourself, but still be directed at the same time.

A million pounds sounds like a lot of money now that I'm saying it. But in terms of moviemaking, it's not a lot of money. And yet you can see what can be done with that, with the talent of a great cinematographer and great director and actors.

I have worked with a lot of great directors but my favorites are all entirely different from one another. They don't go about it the same way.

There's very few directors that know what that rehearsal's for. And often it's just about calming down the director. If he could see it or she sees it, she goes oh, it's going to be okay.

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.

What makes it frustrating is when a director or a studio head doesn't see me for the same part that they'll see, let's say, Drew Barrymore for. Drew's a great friend of mine. But it's like, "No, we want more of an American type of girl."

It's important for me to work with a strong director because I know I can go to some really deep places, I just need direction on how to get there.

I've turned down good directors before because I knew the part didn't speak to me and I've worked with less talented directors before because the part I had such passion for.

Well, there's a great Marlon Brando quote that to do something well you have to spiritually marry your director. You have to be making the same movie they are in that you have to try to help their imagination be better, and more full, and more fully realized, but you can't have a different imagination because then you end up - and you see this a lot in movies - where it feels like they were making five different films.

Directors should not be forced to advocate anything in their works because of their demographic identity.

I can count on one hand the directors who actually directed me.

I love working with women - I love women - and we need more women directors. We need more feminine sensibilities in movies.

It really depends on the director. I think quite often, it's not what you expect. The most serious film can be the most fun. The one that's supposed to be fun can be the most serious. I don't think there are any hard-and-fast rules. I just think it really depends on your director and what the general vibe is.

The thing I love about working with first-time directors is that it's always quite shocking how little difference there is between them and directors who've been directing all their lives.

Stepping out of the director's chair completely and into a scene as an actor was weird. It was more excitement about directing than anything, but I was on a high from being a director and enjoying that process so much that going back to being an actor was almost secondary because I really was loving directing.

Unless you're a directing producer of a television show, for the most part, the director comes in one week to direct and episode, and then leaves. I'd much rather produce television and occasionally direct an episode of a show I'm producing, then just come in as an outside director.

Nothing is worse for me, as an actor, than when I walk on a set and the director goes, "Okay, you're going to be standing here, the other person is going to be standing here, and you're going to move to there and then do the scene." That doesn't help actors.

In my career, I have played a gangster, an ex cop, a journalist and a film director. Yet, the label of a serial kisser refuses to leave me.

In Hollywood there's no real material. They would send me stuff, but I hadn't even seen the director. If I don't see the director's eyes, I'm not going. I'm not even going to pack my bags.

I'm lucky that I've worked with so many different directors with very different styles and with a lot of different actors.

If I were in the director's chair, I would cast [Geena Davis] in something awesome every six months if I had the choice.

I have a real thing for Mexican directors. And I love Guillermo del Toro and Alejandro Gonzalez Inarritu.

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