Quotes About Director

I've been very, very lucky in my career, in my life - from day one. When aspiring directors say, 'What's your advice?' first I say, 'Be born the son of a famous director. It's invaluable.'

Listen, there are some movies that are set in stone and the writer or the director does not want to change, but I've never worked on a movie, including my own, that didn't take advantage of a rehearsal process.

Your crew becomes your family and you trust the director and the other actors on the set, and it's a very safe place.

I'm very ambitious. I live in reality but I have dreams I want to fulfill - I want to be a director, and I've already started my own production company. But I also have a measure of success that I keep to myself. It's something very personal to me.

Safety from external danger is the most powerful director of national conduct.

I enjoy looking at words on paper and visualizing how to make them come to life. As a director, the creative process is really amazing.

Directing is more what I would like to get into eventually. Frankly, I feel like it would be a waste if I didn't because I've spent so much time on film sets, and I know how they work, and I love them, and I love leading them. I would like to do that as a director definitely.

I've told my agent to push the idea of me as a director for hire off the table. Otherwise, we're wasting people's time.

My job, as an actor, is to give the director options. You can only hope that the takes that you thought were the best were chosen. But, then again, if I don't watch it, I'll never know.

I never thought of becoming a director. When I was twelve, the passage from silent film to the talkies had an impact on me - I still watch silent films.

I liked Vittorio De Sica a lot, and I got to work with him once in a segment movie. He was a great director. He was a very charismatic character and a guy I watched a lot when he was directing.

Written by Pulitzer Prize-winning playwright Donald Margulies and directed by Sundance nominee James Ponsoldt, 'The End of the Tour' is a terrific film, among the year's best with its two-man tarantella of wall-to-wall talk - and I watched it through my fingers as though it were Mad Max.

My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.

Even today, my father watches my films only in the theatre with the general public. And he's very tough. His first call will be to the director and the camera man, and only then will he send me a message.

When Scorsese shoots a violent scene, it's very uncomfortable - it's not like watching 'Rambo.'

With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'

As a director, I think it is important to keep a space between yourself and your film. It's like you are in the movie, but at the same time you are watching it from the outside.

As an actor you have to bring to the table your creative input. But when a director like Ridley Scott says I want you to do this this way, you know when he gets to the editing room he has a reason for it. It's like watching a masterpiece.

One day, I got a call from Mani Ratnam sir's assistant, who said that the ace director was impressed after watching 'Naan' trailer and wanted me to do a cameo in 'Kadal.' I was on cloud nine and my joy knew no bounds. However, I had no other option than to say no since the date required by Mani Ratnam was exactly the release date of 'Naan.'

It's hard to be surprised by a film. It's hard to be surprised by another actor or by a director when you've seen enough and been around. So when I am, or when I forget that I'm watching someone's movie, or when I don't know how someone made a certain turn that I didn't expect . . . You know, I'm in.

I'm such a fan of Daniel Waters, who wrote the script, and also Mark Waters, his brother, who directed. 'Vampire Academy' has, I think, an iconic director.

For me, the French new wave is Truffaut and Rohmer. Godard I sometimes have trouble with because he's very much of a director's director. I feel Truffaut is such a humanist, and I always go in that direction.

Ulrik Ottinger was the most real and experimental of all the German New Wave directors. She was probably the most out-there, too. She's a fascinating artist in that world.

I was impressed that when it came to making 'Rebellion,' they sought out Aku Louhimies, a Finnish director who's part of that new wave of Scandinavian realist drama.