Quotes About Director

My first exposure to TV, film, theater, the idea of what acting was, is I was a little kid, and my mom's best friend was a local casting director in Cambridge, Mass. Her name was Patty Collinge.

I stopped directing in 2001 for four or five years, until I did the TV series 'Masters Of Horror.' I had been working steadily as a director since 1970. That's a long time. I was burned out.

My strangest auditioning experience was when I was reading for a TV show, and right when I started the audition, the casting director left the room and yelled at me from the hallway to keep reading.

I've gotten pretty good with a tray between acting jobs. In fact, when I got the TV show 'Gravity' I was still doing my catering work. I told my director I had to miss rehearsal because I had to work a party. He was like, 'You're on TV. You need to get over that.'

When a director is remaking a film, he should tweak it, add Bengali sentiments to it and make it look like a regional movie. A copy-paste job is something I don't support at all.

It usually starts with the director and any other creatives who may be involved at the start. It's a collaboration. I bring what I have naturally and, hopefully, what they cast me for, and then we start playing and tweaking until we have what they feel's right. It helps to have some artwork to inspire me, but I don't always get that luxury.

In 2013, when it turned out that the plot of LaBeouf's short film 'HowardCantour.com' (2012) had been purloined from graphic novelist Daniel Clowes's 2007 comic 'Justin M. Damiano', the actor-director responded with a series of tweet apologies that also appeared to be shoplifted.

I started tweeting with the first film I directed. I found it the best way to promote it and to connect to the audience, and since then, it's been very helpful.

Most of the top actors and actresses may be working in ten or twelve films at the same time, so they will give one director two hours and maybe shoot in Bombay in the morning and Madras in the evening. It happens.

I think every director's different. Every director's got his own style. I mean, when I directed, I basically just screamed for eight hours a day, twelve hours a day.

I don't read reviews, and it's not because I don't think I can learn something, I'm sure I could learn a lot. I just that I feel very passionately about the work and especially when you're doing theater, you really only need one director and when you read reviews, you feel like you have twelve, because you respond to them, naturally.

Soderbergh is a very respectable director that manages to have an incredible amount of freedom in a system that doesn't allow anybody to be free as he is on a set. And he will jump from 'Solaris' to 'Ocean's Twelve' and 'Thirteen.'

In a normal movie, the director controls what you look at. The shots don't last very long because you're getting the audience to look at specific things. An IMAX shot, on the other hand, can be twenty or thirty seconds long.

I don't do rehearsal. Some directors prefer to do rehearsal - readings before the actual shooting - but I don't like this process because I think there are certain things that are so spontaneous, and they cannot happen twice.

I had great luck with Tim McGraw twice in 'Friday Night Lights' and 'The Kingdom.' I love finding off-beat casting and finding someone you know in one way and you reinvent them in another way. I like doing that as a director.

I have hardly ever worked with the same director twice. But when you have worked with a director before, you understand his behavior.

I refused to be filmed getting off a bus twice. The director said, 'I'm an award-winning director. Please do it', and I said, 'I never thought I'd say this, but I'm an award-winning actress with a bad leg, and if your film depends on seeing me get in and out of a bus, we're in trouble.'

As a director myself, you really appreciate collaborating with people who are trying to help you find what you need and what you want.

I'd love to be a huge television director. I definitely want to do that. I could imagine me going more and more into that, as I age.

Sometimes you can't even find the director on a movie set. Sometimes you don't want to find the director on a movie set.

Sometimes if you're a director, you want to believe that you're great and capable at all aspects - the technical side, the lights, everything - but I'm not.

And if I'm running away from something, I try to make myself face it and overcome that initial fear. As a director, I don't think it's possible to make a movie that you really don't want to make.

House of the Dead 2 I gave away. Alone in the Dark 2 I will also not do; even if the DVD movie made money. BloodRayne 2 in the Wild West is what I really want to do.

I'm supporting an up-and-coming director. It's the time in my life that I want to share what I know and pass it along.