Quotes About Director

One colleague described him thus: "With fierce black eyes and a hawk-like nose, thick well-oiled hair slicked back from a low forehead, he looked like a casting director's ideal choice for a desert sheikh or a slinky tango lizard.

An actor can never voice his opinion through films. All an actor does is convey what the director and writer want to say. You are a mouthpiece of their ideas. Your ideas reflect only in your choice of movies.

It is the responsibility of a director to introduce their politics in their films, and whether you like it or not your politics will be reflected unless you are an opportunist which some directors are.

To reform the Secret Service, the agency needs a director from outside the agency who will be immune from that culture and not beholden to entrenched bureaucrats within the agency.

In 'Burrraah,' I play a teacher whose aim is to reform a bunch of rowdy boys. My character is very interesting and I chose this film for a Punjabi debut because of its story, script, screenplay and director, Sagar Sharma. I love the way he narrates a story.

As for 'Jogger's Park,' it was refreshing to work with Anant Balani. As a director he's cool as a cucumber.

I have had experiences where the director has asked me to meet for a drink or to come party with him or just to 'hang out.' I have lost some roles because I refused to go to Madh Island to hang out.

My literal responsibility as director of the CIA with regard to covert action was to inform the Congress - not to seek their approval; to inform.

Regarding the responsibility that a director has to society, first of all, there are ratings. There's freedom to make films, and freedom to watch them or not. It's not like I take those films to a school and force kids to watch them.

The love scenes that worked, regardless of the director, were the ones where the actors weren't fearful. When somebody was fearful, you could see it right away. It takes you out of the story, and that's to be avoided at all costs.

Regardless of the size of the budget or the name of the director, if the story is really interesting, then I can get on board with it. If it's not, then they're not gonna cast me anyway, because I'll just give a terrible audition.

I was a VP of marketing, I was regional sales manager in fashion, and marketing director in communications and product development. I was always a corporate Fortune 500 girl.

I know how difficult it is to learn languages, since I am working in three regional industries in South India, and unless the director wants my voice to be dubbed, I do my own dubbing.

One of the biggest regrets I have in life is not getting an opportunity to work with Yash Chopra.

The O.M.B. director puts together the budget. It handles every executive order. It is the clearing house for every single federal regulation. It has input into all the management of all of the federal agencies... It is involved with everything. And I thought, 'That's where I want to be.'

You never learn to act in front of a camera. You never learn anything in front of a camera. But you learn to act in a rehearsal room with a good play and a good cast and a good director.

But you really - I always think that a director has got to adapt to whatever the needs of the actor are. You know, so if you take someone like Eddie Murphy, who is not a big fan of rehearsal. You know he comes out of stand-up. He comes - it's all about capturing the moment - in the moment, you know.

The rehearsal process is the biggest gift you can give to the director and to yourself as an actor because it allows you to shape the character and the scenes.

James Ivory comes close to the actors for the first rehearsal. He more or less lets you direct yourself and then will only correct you if he finds it incorrect.

Casting, to me, is always the same. It's a very important part of a director's job. I pick people that I sense I'd like to be in a room with and will enjoy the rehearsal process with because that's the best part.

For me, rehearsal is only about blocking and pacing; it's not about performance.

I was an apprentice at the San Francisco Ballet, and a casting director came to one of our rehearsals to scout talent for 'Center Stage.' I landed the role of Jodie.

Rehearsals are set up so that you find out all the nuances about your character. You never want to beat yourself up. It's about finding the right direction, and most of the time, the right direction is not what you think is the right direction. That's why the director's there: to guide you there.

In the theater, we used to have four weeks of glorious rehearsals.