Quotes About Directors

I've always loved music videos - I used to make my own for bands like Pearl Jam. My favorite directors are Michel Gondry, Spike Jonze, and Patrick Daughters.

When I was doing music videos, everybody was very snobbish about music video directors doing commercials. It was all guys from ad agencies.

There, a meeting with John Ford, one of the several directors who were to sense that into this perfect mold might be poured the inarticulate longings of a nation wondering at just what pass the trail had been lost.

I think certainly directing is a visual medium, but it's also about communication, and a lot of times great directors are lacking in communication skills, which is rather shocking to discover that.

Russian directors, we are shooting the same streets. The same things. Tom Jacobson has a fresh eye and found very interesting and very cool locations and angles and characters.

Some of my favorite auditions have been with female directors.

I'm being offered great movies by great directors and that's what I love, that's what I've dreamed to do, and that's what I do all day long. So I have to do it.

Directors would tell me, 'We want you to play a character a little less complex than you are.' Yeah, sure. What they mean is, 'You're playing a dummy.'

Honestly, I think most directors are about, 'Let's do the most fun and effective thing here and figure out how afterwards.'

I selfishly like a lot of first-time directors because they over-prepare, they're super eager, and there's very little ego.

I've been very fortunate to work with a lot of directors who understand that actors need to feel empowered in order to really do their job.

I'm new to this TV thing, at least as an actor. It's a challenge. The thing I have to adjust to is the changing directors every week. That's new for me. I tend to establish with a director - and then two days later, he's gone.

Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia.

My sense is, I think it's okay for directors to do movies that speak to other work in their career.

I've discovered just how symbiotic the relationship is between writers, directors and actors. They ask the same questions and strip down texts in exactly the same way.

I think 'Trial & Retribution' as a brand can go on forever. Its joy is that it has, to an extent, a formula, which gives a comfort routine for viewers. But we allow our directors total autarchy in putting their personalities on their stories.

We often come across certain directors who mention some of their own flops as their favourites. They will blame the viewers for not realising its merits. I think that is plain hypocrisy.

I don't stay in my trailer. I like to sit in video village, probably to the annoyance of some producers and directors, because they really love to talk about actors, and they can't in front of me.

Once you achieve success, you are consumed by the fear of living up to it. Which is why many directors stick to tried and tested fare. But, I made films on village subjects, love stories, movies with students as focus, crime thrillers... it was very satisfying.

I think we've shot scenes from every angle directors can think of to make it look like different villages. I've directed a couple shows on that set and believe me, it's impossible not to duplicate some camera angles.

I was never a villain on the stage. I always played strong, sympathetic types. My first stage role with a speaking part, believe it or not, was as a priest. It wasn't until I began acting in films that the producers and directors saw me primarily as a bizarre villain.

I am a product of the Film and Television Institute of India, so I never categorised my roles, but yes I was typecast by the producers and the directors as a villain.

Villains are always the best roles, but that meant that for months afterwards, all I got offered were absolute cads and bounders and really nasty pieces of work, as well as a lot of people who only had one arm. Such is the limited imaginative power, you see, of a great many casting directors.

Personally, I can't stand violence. In any standard American mainstream movie, there's 20 times more violence than in any one of my films, so I don't know why those directors aren't asked why they're such specialists for violence.