Quotes About Director

I don't want to make a comfortable film. I'm not interested in that. I'm not interested in answering people's questions; I'm interested in posing questions. I'm interested in sparking a conversation between two people about what something means. That's enough for me, as a writer and as a director.

The truth is, a director wins an Oscar for a writer's script and actors' performances.

I worked as a writer, lead designer, and creative director in the game industry.

I think film and television - particularly film - you are very isolated as a writer. If you're lucky, you have a good relationship with the director. Then you do make that development and come on set and be part of something. But ultimately, your work is kind of done by the time you come on set.

There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.

The chasm between independent film and commercial film is now so wide. You either have to be super-famous and get a first-time director or writer's indie script off the ground, or you're a newcomer and go and put a cape on for four years.

I like Rebecca Miller and her writing. She's a tremendous writer and director.

I have been working in television for quite a long time. In television, the writer is the constant, and the director is rotated in and out. I am very use to dealing with people's methods. And perspectives.

One of the nice things about the world of filmmaking is that you make friends in the business. Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.

I'm a writer and director, and the movie I've seen a million times is 'Stardust Memories' by Woody Allen, starring Woody Allen and Charlotte Rampling.

I don't want the baggage of knowing things when I walk on to a set. I am more comfortable being an empty slate, surrendering before a director and writer's vision. I've realised that this is the best way for me to function.

Dan Curry is the funniest guy in the world. I can sit in a room with him for hours, and he's just cracking me up constantly. And Kitao is the next Terry Gilliam. A lot of comedy directors are just comedic writers, but they don't have any sense of aesthetic or visual vocabulary.

My kind of director is an actor-director who writes.

Whether I'm writing the script, or someone else writes the initial draft, I'm always an actor's director first. I always try to listen to them a lot and try to put their voices into their character.

The dream, I think, with any project is it starts with an idea, and then somebody writes it, and the writer hopes that a director comes on and makes this piece of material visual, and both the director and writer hope that they can have actors come in and bring something to it that neither one of them expected, elevating it along the way.

To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.

Rudy sat behind his desk. He could have worked as an extra on The Sopranos, except the casting director would deem him too much on type. He was a big man, sporting a gold chain thick enough to pull up a Carnival Cruise anchor and a pinkie ring that most of his dancers could wear around their wrists.

Jon Scoffield was an incredible director and producer at ATV. I met him when I was 30 and he made great things happen in my career. He's still alive, but we're no longer in touch.

I did my 'Hulk,' but it was not easy. If I do another Hulk film it will always be compared to the Ang Lee thing, and my first one... if I come back, I'd love to do another superhero, something different that I can really put my touch on.

After 'Chen Zhen,' I wanted to make an emotional, touching story.

I laugh a lot, especially between shots, and it's tough for me to control. There have been so many instances where my director had to request me to stop laughing and come into the mood of the scene.

As a director, you're a bit of a dictator. But I feel that you're a better director if you're open to other people's ideas. It means that it's tougher: you have to be in a choosing process; you have to put the ego aside. As long as everybody's aiming in the same direction... I'm open to my main partners in the film crew.

Looking back, the most challenging thing for me was actually directing. It's very tough. Being in front of the camera is easy since the director can tell me what to do. But being the director and giving people directions is the toughest thing for me.

In 'Kalank,' I am playing a character, which is quite strong, quiet a little complex yet interesting, that drew me towards the character when I heard the narration from director Abhishek Varman.