Quotes About Director

I feel that I don't know anything, I don't know how to act, but I can surrender myself to a director I respect and love. I feel very lucky to be a part of their visions.

Sometimes, when you're on the streets, certain music inspires you, and then you have a vision. But, at the end of the day, it's a synthesis of visions, so you have to think, as a director, of a scene, or how to deliver a line, or how do this visually.

I feel that being an actor is a front-row seat into seeing how everybody else makes their movies. Basically, being in the trenches for ten years is like a college-level course in filmmaking if not more. It feels like every director I work with and every set that I visit as an actor, I see someone else's definition of filmmaking.

The first time I visited Chennai was in 2013, July, I think. I came here to meet the director of my first Tamil film, Pa Ranjith for 'Madras.' We did a test shoot and I left the same evening. I didn't get to explore the city much at that time.

When you're talking about Tim Burton, you're talking about a guy that has such a visual sense, an aesthetic, a storytelling style. It's like he's got his own genre.

My greatest strength as an actor is that I follow my director's brief completely. The film is always the director's visual baby.

I have no style. There are certain people who just have a visual sense that defines their work. You could probably watch 30 seconds of anything they do and you'll know exactly who directed it. I don't have that skill.

I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.

I'm not a huge kind of visual director. For me, it's all about the acting. There's no greater buzz than working with actors and seeing what they can do and how much they can improve on what you'd written. That will always be on the top of my list. It's a real privilege to see it live before anyone else sees it.

I have a music-video background, and I feel like the responsibility of a music-video director is to do something that hasn't been done before in a really cool visual way. So much innovation has come in filmmaking through music videos.

With 'Anna Karenina,' I just think it's a stunning visual tour de force for a director who is at the top of his game.

Baz Luhrmann is a very visual director. He needs to see things as they would unfold in his world.

Film is mostly a visual medium, and so the director has much more control in terms of painting pictures and painting a performance. For theater, the director does everything he can and then says, 'Out you go,' and the actors are in charge of that stage every night.

What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.

I moved out to Los Angeles with the idea of becoming a director, which thousands, if not tens and hundreds of thousands, of people do, every year. It's a very competitive field, of course. I immediately got swept away into the visual side of things, starting with visual effects, and then designing.

I don't really have a drive toward being a director at all. Not that I wouldn't rule it out, but I just don't think my instincts lie necessarily in a very visual way. But I am very interested in storytelling, narrative and character development, so writing is something that I absolutely want to do.

I think the power of opera has been shifted from the music to the director, because this is a very visual age that we live in.

I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.

My favourite Ghibli film is maybe lesser known: the 'Tale of Princess Kaguya.' It's a different visual style, by a different director to most of the films, but it's really beautiful, and an old Japanese fable brought to life in an almost moving-watercolour kind of way.

I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.

I think that as a director, especially when it comes to writing the script, which I also do, and I'm also the first one to visualize this story, I think contributing to the film industry means I'm able to take the best of a story and translate it well into a movie that can be released in theaters.

I'm always trying to find something unique or a project that I can do something unique in. When the director has a vision for a piece that I've never heard before, and they can back that up with visuals and they talk a good game, I get really interested in the world that they're trying to create.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.