Directors Quotes - Page 78

I think the perspective that small-town directors bring to films is very different.

There are two parts of me. There's the really critical, film-nerd part of me that loves that, and then there's the part of me where I'm like, "I really didn't like that movie, but I want to work with that director because he loves actors."

I'm sure there are directors who don't like to work with actors and don't know how to be sensitive to actors.

I became a director just for the love of movies, because of the power of cinema.

Being a writer-director can sometimes make you incredibly blinkered.

I had never thought of myself as a director and found out that I was not. I am a writer who was able to direct the films that I write.

As an actor, you want a director who makes you feel comfortable in a place that you can really create and try a lot of different things.

In theatre, there's the director, the writer, and below them the actor. In film, it's the actors who are most important. That goes against the grain for me.

You have to get it in your brain that you don't belong to yourself as an actor, but that you belong to the director who creates the character.

When Chris Nolan is your director you are like, "I trust that, I'm wrong."

There are so many female directors coming into the industry and a lot of them have important stories they want to tell that seem to fall a little bit more on the indie level.

I've learned a lot from Clint [Eastwood], who's an extremely economical director.

Working with [Robert] De Niro taught me a lot about being an actor's director.

I'm shy to call myself a director still. When someone says, 'What do you do for a living?' I don't know if I've earned that.

As a director, I hoped that I was able to help the actors by giving them the space and the respect they need and the trust. I gave them what I always felt I needed when I was working.

Roles came to me. I was very, very lucky in that respect. Great directors, great writers, great producers - they saw something in me that they wanted for their picture or their play or whatever it was, whether it was Edward Albee or whether it was - or Peter Hall, directors. They would come to me, thank God. I was lucky. Lucky, lucky, lucky.

But that's not what an actor does. An actor finds things in the moment with a director and other actors that you don't have time to hand-draw or animate with a computer.

When I on set as a director I crazy. My temper is not that good.

In Hong Kong, the directors are the idea men.

When I do any stand-up, you're the writer, director, and producer. You're alone.

In my case, when you dive into a role, to do well and for you to do well in it, you have to put an enormous amount of faith in the director. But you also have to decide you're so interested in the material, this director, his work, and his process, that you don't care about the outcome.

The core of a director is the person's tastes in what elements go together and how they go together. It's a puzzle.

Things maybe take longer usually when it comes to TV - especially network TV. There are usually multiple levels that you have to go through in terms of the casting director, the producers, the studio, the network, reading with other people.

I have known Tarell Alvin McCraney for ten years but the involvement with Moonlight came more with Barry Jenkins, the director. He was a fan of the show I did called The Knick. He was also with Plan B Entertainment, who produced Selma. That is how I got involved.

You come up with a story line, you hire the writer, the director, the stars, the set designer.