Quotes About Directors

Generally, nowadays, I'm using my own accent because casting directors want it; they like that.

As I've always been open to learning, directors have helped me with the nuances of acting.

Noir was a brainchild of the United States. And most of the creators of classic noir - novelists and screenwriters, directors and cameramen - were men. Women were their mysterious, sometimes villainous, always seductive objects of desire.

I'm really fascinated by other directors' methods. I've done a lot of learning by observation.

All of my fellow directors, I think, would agree that in whatever medium you are working, the challenges and obstacles push them to be more creative. That's the case with VR.

I give everything to my work, and I like complex roles, characters that aren't obvious. I've been very lucky so far, and I'm dreaming of working with directors like Jane Campion, Susanne Bier and the Dardennes. But the gods will decide.

Why in the world would you involve Steve in a decision like this?" Amelio replied, getting angry. "Steve is not even a member of the board of directors, so what the hell is he doing in any of this conversation?" But Woolard didn't back down, and Amelio hung up to carry on with the family picnic before telling his wife.

In addition to being independent, directors should have business savvy, a shareholder orientation and a genuine interest in the company. The rarest of these qualities is business savvy—and if it is lacking, the other two are of little help. Many people who are smart, articulate and admired have no real understanding of business. That's no sin; they may shine elsewhere. But they don't belong on corporate boards.

The bedrock challenge for directors, nevertheless, remains constant: Find and retain a talented CEO — possessing integrity, for sure — who will be devoted to the company for his/her business lifetime. Often, that task is hard. When directors get it right, though, they need to do little else. But when they mess it up, . . . . . .

Over the years with movies, I've given directors notes.

Unlike in the past, when acting in parallel cinema entailed hitting film festival circuits even not fully comprehending the story thread at times, directors are more intent to tailor present day films for the audiences, while introducing fresh concept and craft.

Look, a lot of directors were actors, even if they were unsuccessful actors which I think is helpful. I think it's a really helpful thing for a director to have experienced that. It helps you know how to talk to actors and how to get what you need from them.

Casting directors tend to be the unsung heroes in this business.

I did this thing for HBO called 'Strip Search' with Sidney Lumet, who was one of the best directors I've ever worked with. We actually had a rehearsal period before we shot, which is unusual.

Filmmaking is not a balancing act, although some directors think it is. I don't believe in it. I like ups and downs. They're the best way to translate my feelings to the screen.

Making movies is a very different experience in a lot of ways. It's difficult when you're used to owning the copyright and having a landlord's possessory rights - I rent my plays to the companies that do them and, if I'm upset, I can pull the play. But the only two directors I've worked with are pretty great.

I dream of working with iconic directors such as Tim Burton, Baz Luhrmann, Terry Gilliam and Wes Anderson - so I'm setting my sights pretty high! My perfect role would be in a fairy-tale period piece, and I'm quite upset all the Harry Potter movies have been made as I'd love to have been in those.

I've really enjoyed my work in television, but the problem for me is the turnover of directors every week.

I'd like to work with any actress from whom I can learn-one who has had many experiences with many directors and is willing to share some of her knowledge with me.

Honestly, I love television. I love the idea of going to work every day and getting to know your crew and having a rapport with your directors and having a family of cast.

Working in film, if you work with great directors, you learn that after every take you must let go. Sitting with my wife at the Academy Awards, we both let the moment just go.

And I just want to work with good directors and good people.

Directors go their whole career without being able to tell personal stories and to work with a cast as talented as they are.

The more that I can work in different mediums, the more I can grow, and learn from different actors and different types of actors and directors and different styles of acting and build a tool box.