Quotes About Director

But, Tarantino has seen all of my movies. He's seen my good stuff, he's seen my bad stuff, he's seen the ones I directed, he's read my autobiography. There's an awful lot of things he knows about me, all of which I think had something to do with his casting.

As a stunt guy, you become a mini-director. You're talking to actors about performance.

In Montana, when we did 'Return to Lonesome Dove', we rode on the side of a hill at night in the dark; I was afraid my horse would step on one of the actors playing dead. The director said to leave it to the stunt doubles since they got paid for that.

We have amazing stunt performers and in Miguel Sapochnik, a director who's so good at spending hours and hours and hours on every shot beforehand, so that he knows exactly what he wants when he gets to the battlefield on the day. We only shoot ten-hour days, so you have to pack a lot into those ten hours.

Before becoming an action director in 1990, my father was a stunt man for about 8 years. During that time, he was body double to many actors in that era, one of them being Sanjay Dutt.

As far as I know, there is only one other director who was a stuntman - guy named Chuck Bail who directed 'Gumball Rally.' Doing stunts isn't exactly a common path to directing.

Actors aren't stupid, mostly, and if there's a sensibility and an aesthetic that a director's going for, if you're aware of that too, you can do things to help that.

For a while, I thought, maybe I should direct, until I got to New York and saw the stupidity of that idea. If it's hard to get into acting, what is it like for a woman to become a director?

Atanu is one of my favourite directors. His script, style of storytelling and characterisation are always very different.

Major differences in projects happen due to budget, director's styles, and genre of script, not industry.

I love the music video for 'Crash and Burn.' I was very excited to work with the director to make something stylistic and graphic.

It's funny: as a director, there are movies you make because you're passionate about getting your vision across, and you know that you're vision is different than anybody else. In those cases, you take the plunge, and it works, or it doesn't. You make the stylistic choices based on how you feel about the material.

To be an actor is to be ambiguous in every form, which is a very hard way to live. You represent desire: the desire of the director and the desire of the audience, even if it's a subconscious desire. If a director is to work with you for two months, he must be in love with you in some way or another.

Any director who's willing to be brave not only in terms of subject matter but also in terms of being emotional and moving you is what inspires me.

Whenever you write script without a director, you put in things that point toward a style in which the story will be told, a subjective style.

For me, I had to overcome shyness to be an actor. But as a director, you lose your subjectivity, your self-consciousness. And instead of just your role, it's the life of the whole play that becomes a reflection of you.

When I accept a role, I feel that as an artist I have to submit completely to the tutelage of my director. And while I expect to be heard and encouraged and honored, at the end of the day, man, it's the way the director wants it.

'Mariah' was the first series-regular role for me, and that really came about because of 'Secret Honor.' That really was a direct result of that. Because now I had an agent and was submitted for that part, for James Malone. And... I was the casting director's first choice for James Malone.

I like to do commercials that are more than just flogging a product. It needs to have something to say. It's always an opportunity for a director to say something substantial and interesting.

In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.

I just like to keep things small and subtle and authentic, and ground everything in reality. So that is something that I feel is my strength as a director and I try to achieve as an actor.

The director's job is full of all sorts of annoyances and details - like how many cars are on the street. Ugh. I don't want it. I like my gig. And I feel that for the next 30 years or so I can keep learning more about it.

There are two kinds of employees-those who do the work and those who take the credit. Be in the first group and face exploitation with humiliation only ; Get in the second group and reach fast to the position of the president or director in the private organization and have fun.

Remember that it is the combination of talents of the director and the actor which produce a perfect performance - and since both of them are you, you just cannot go wrong !