Every director is different. One of the great things about getting to work with so many directors in one TV series is collaborating with different artistic visions and voices. And they all have something to offer and making the story better and bringing their vision to what you see in the frame.
The showrunner relationship in television is what the director relationship in film, there's really no more important relationship.
There is something about being a director where, for me personally, I get to . . . it's the closest I'll ever come to being able to be a stand up. And to use my particular sense of humor, and hear people laughing, without me having to stand up in front of an audience and tell jokes.
The first cut I do is usually between five and 10 minutes shorter then the cut that we release. Anything I think isn't working or might not work, I don't even put it in the director's cut. And usually it's the studio suggesting I put stuff back in, as opposed to studios saying, "You got to lose 40 minutes," they are always saying, "You've got to gain five minutes."
Everyone can do a character the way they want to do it, unless the director tells them not to, which isn't very common. I like to do my characters, if it's not specific in the script, as myself.
When you work with a great director, you realise you are far from being a director.
I do feel, like everyone, there's not enough female directors out there, there's not enough female producers, and would like to see more people get more opportunity, more opportunity for roles for women.
It doesn't matter if you work with an Oscar winner or if you work with an unknown actor. There is always a collaboration between the director and the actors, and you always have to listen as the actors have to listen to you as a director.
I do not talk to the FBI directors about pending investigations [on Hillary Clinton].
Wong Kar-wai and Ang Lee are two Asian directors I'm really fond of.
What I like about being an actress is that it keeps you feminine. Being a director and producer makes you manly and very masculine and I don't like that quality in a woman. But I'll do it when the film is very close to me.
In Kurdistan, theres a lot of hardship - a lot of wars, a lot of bitter and difficult lifestyles. And witnessing all those made me a director.
I'm a believer in trusting the director.
If the United States is to produce a nation of investors-as we must if we are to gain financial world-leadership-it is imperative that boards of directors be so constituted as to adequately represent the interests and inspire the complete confidence of investors of moderate substance.
If I get lucky and I can choose, I would always choose a really good story and screenplay, even if I don't know the director. If there's a good screenplay, there's a chance that something good is going to happen.
There are so many directors that I want to work with, but I can't tell you that there's one role. If I knew it, I would write it for myself.
If you don't have a brilliant screenplay, then you either have amazing actors who give you the chance to improve whatever is on the page, or an interesting director who has enough faith in the project that they can carry it through and get it somewhere. One of those factors needs to happen. If not, it's sad.
I would love to occasionally do English-speaking films, but the script is as important for me as the director.
I've worked with very few directors who've asked of me what I asked of myself.
Having been a child actor, I remember how directors would trick me to get good performances out of me. I don't think you need to do that.
I've constantly done my best to get the best material I can get with the best directors I can get to direct me.
With the film, you have a bunch of executive producers, directors, writers, scripts. There's, management, lighting, the union and etc. There are so many components a part of that game, so naturally it isn't my world.
To televisionize any serious problem, the program directors face the task of making the message 'go down smooth' until the audience is delivered to the commercial.
I always felt that the telefilm directors made wonderful films, which are even better than the big screen movies, but never got enough opportunities to showcase their talents on the big screens.
CIA Director George Tenet briefed a Senate panel ... about the current situation in Iraq. He described how cash was being stolen and women were being assaulted with impunity. Senators love to attend these continuing education seminars.
