Quotes About Directors

Different directors offer you different things, and it's not necessarily the most obvious things.

They offered me that film before I did Frida and I said, no, I'm not capable of directing. Then after seeing Julie direct, I was inspired by it. She motivated me to do it, because we don't have role models as woman for directors.

I don't know myself why directors are offering me negative roles, although I did 'Yaddein' after 'Mission Kashmir' in which I played a very positive character, but people don't remember that.

Rejecting offers has not been easy for me, especially when the movies involve some of my favourite actors and directors.

Oh, I've been ridiculously lucky to work for, I'd say, five of the greatest directors of all time... and a lot of other great people, too.

I don't know that much about who directs what movies, but I'm definitely inspired by the look of old movies; I find them to be really beautiful.

I was saying to myself that I would love to try it once, just one time, to know what it's like to make a movie in Hollywood. I was so curious because most of my favorite directors were there. There's a history; there's a way of working.

Working with film directors helps me grow, but nothing like the incremental jumps I make onstage.

Some directors are open to ideas, and some are rigid. And, some actors are into method acting, and some, instinctive.

Obviously I've got a great team of people within the company. You can't operate all by yourself. We have a good board of directors and a big bench, and they can make decisions if I'm not around.

I'm pretty sure a lot of directors would be thrilled to cast age appropriate roles. I am.

It's interesting - I always thought when I was doing more melodramatic stuff like 'Everwood' that the directors were constantly reeling me in and stopping me from being funny.

I love test screenings. Some directors don't, I know. But I love it. I think it's because I come from the theatre and in the theatre, previews are where you really have to listen to the audience and really feel how they're responding. I found our test screenings incredibly useful.

Specifically with directors I'd worked with, and even some that I haven't, they were all incredibly generous with me, having really long conversations about what they felt was useful as tips.

Now, therefore, the Directors of the company are hereby ordered to see that precautions are taken to make travel on said railroad perfectly safe by using a screw with at least twenty-four inches diameter.

It takes great skill to tell a compelling story in under 60 seconds. These five directors have mastered the format, using their talent, craft and imagination to provide us with some of the most innovative filmmaking out there today.

I was at the National Film School and was a cinematographer there. I got quite a lot of experience on documentary film-making and with directors who were interesting - maybe they weren't using scripts or were using non-actors.

I've worked with many directors, good ones and bad ones. So if I have a chance to work the good ones, I better put myself in their hands, and trust them, because that's my big opportunity to be different, and to be better than usual.

I have found that so many directors and producers in the room say nothing, and this can be deadly. It's very difficult to audition for comedy in the vacuum of a small room, but it's the only way most do it.

I don't want to work with directors who use music only to accentuate sound effects. I want to work with people who give music the value it deserves.

Producers generally don't like me; directors do, generally. Convincing the producers is hard. They can't see the commercial value behind such a face, nor would they get a commercial value, necessarily - and I don't mean that in a good way or a bad way.

I think the reason composers aren't valued is because many act as servants rather than music directors. Instead of taking a stand based on their convictions, they sway to the opinions of others.

Music video directors, who conceive, write and direct these works, enjoy no creative rights, receive no ongoing financial benefit from the sale of our work, and many times are not even credited.

So I moved to Europe and only came back when directors like Robert Altman would call me after they'd seen my work in Full Metal Jacket.