Quotes About Directors

I guess maybe directors see a face that seems to have been lived in. I know that my face has been lived in, yeah.

I don't have a philosophy for choosing roles. Sometimes, it's just, 'This might be interesting; that might be fun to do.' There might be interesting actors or directors in the project, even if the part is not important. And then sometimes, you need the money.

There are directors you never, ever want to get close to. Lubitsch was one. Outside of the work, I don't think I ever said five words to him. Mamet was pretty much the same thing. His mind is working all the time.

Most actors are pretty adaptable because we work with so many directors.

We definitely have to support other female directors because there's not enough of us.

There are casting directors with lots of imagination, but also some with not as much imagination.

The question I always ask is: 'Where are all the women directors in America?' You know, where's the female Martin Scorsese, the female David Lynch?

My acting experience has been a benefit. What I learned from directors is how to listen to and talk with actors. I know how they think and what they need.

When I was young, I was like, 'I want to want to work with this director and that director'. I've stopped doing that. You put yourself in a place where you get disappointed.

I'm trying to work only with established, respected directors. I took a lot of bad scripts and worked for a lot of lazy directors, and it was discouraging to go to the screenings and see that the director had added nothing, the editor had added nothing, there was nothing to see.

I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.

The great directors managed to dissolve and disappear into the work. They make other people look good.

It is up to the directors to take risks in telling a story and if they want to experiment, they should work with the right kind of people.

Thanks to multiplexes there are lots of experiments going on and we have some great directors like Sujoy, Shoojit, Dibakar.

There are many young and new directors, who have fabulous concepts and story ideas, and this is why I do their films. And the bottom line is, when I was a newcomer, someone gave me a chance too.

There are certain directors I have worked with who build up the scene and get you all excited, but when you actually do it, it falls below your expectation.

The cinema I particularly love is the cinema of the golden age of the studios in the 1930s. One of the really nice things about it was the way teams of actors and directors and crew people worked together again and again.

A lot of TV is put together by teams, by writing staffs and several different directors. It's a great, very smart way to make television. It's worked for however long TV's been around.

A lot of directors in television have come up through the technical ranks. They have all the technical skills in the world. They're not all that familiar with actors.

A lot of directors straight out of film school are very technically minded, but they don't have an understanding of actors or how to talk to them.

I've been very blessed to have worked with two incredible directors - Barry Jenkins on 'Moonlight' and Ted Melfi on 'Hidden Figures' - and it was a collaborative effort in shaping my characters, Teresa and Mary.

I've played all kinds of TV roles, from cowboys to fathers of teenagers. It's helped me a lot. Of course, I was very lucky to have had good directors.

I started modelling while still studying. I liked doing television commercials and being in front of the camera. Lots of ad directors told me to try for films.

Filmmaking is a completely imperfect art form that takes years and, over those years, the movie tells you what it is. Mistakes happen, accidents happen and true great films are the results of those mistakes and the decisions that those directors make during those moments.