Quotes About Director

I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.

Yet as a director, I don't feel you have to identify with your characters as a requirement to make a movie.

The first and primary requirement for me in a director that I'd want to work with is: do they love writing, and do they love the collaboration process with writers?

I'll give the director what he wants, but please explain the requirement. If it reaches me, then there's communication.

Sometimes a character is really based on research that you do. Other times it's just based on your imagination or perhaps your conversation with the director. Or sometimes all of the above. It depends on the movie and character.

You read a script and its based on 'Reservoir Dogs' and 'Pulp Fiction', and it goes right in the bin.

Truth be told, actually, my favorite director of the Movie Brats was not Scorsese. Loved him. But my favorite director of the Movie Brats was Brian de Palma. I actually met De Palma right after I'd done 'Reservoir Dogs,' and I was very beside myself.

I very much see 'Resident Evil' as my franchise that I kicked, screaming, into life.

You make a movie, and if there's a red light flashing in the distance, everyone thinks that the director had a whole lot of money and a great idea that the red light means something. Then you say, 'Yeah, we couldn't afford to shut the red light off that was broken two blocks away.'

I have been a director who has starred, participated on both sides of the filmmaking process.

If I'm in a gathering of filmmakers, I'm first and foremost a British Indian; if I'm in a gathering of British Indians, I'm a woman director. There are so many sides to who I am that I change all the time.

Once you sign on as an actor, you know, you don't go to the editing room, you don't see how they cut, you don't see how they score, you don't see how they cast the rest of the movie.

I sign a film based on the story, the role I play, and the maker.

I sign on to any project because of the director: because they won't change, and you've got to feel confident that you're in good hands, in their vision.

When I heard I'd be working with Scorsese, I signed up immediately.

I enjoyed all my films equally. I have loved working in all the movies which I signed. Whenever I used to like the script and the director only then I would say yes for the movie otherwise it was a complete no.

In terms of using my degree, I started working for YP; I signed on as director of communications.

My look in the song 'Character Deela Hai in Ready,' starring Salman Khan and Asin, has come in for praise. I've signed films with top directors.

I find that the projects I enjoy signing up to at the moment are with a director who's interested in the script - isn't completely sure what the movie is and isn't concerned about it. He's just interested in going on the journey and discovering it.

I go by the script and the director. Decisions about signing on the dotted line are mine. Of course, mom and dad listen to the scripts but I think I'm a better judge.

I primarily look at how a role is laid out by the director. I take into consideration my co-stars, before signing a role.

Honestly, I always had the silent ambition of being a director.

I wanted the opportunity to work with Judy Davis and Simon Wincer.

You have this idea that Hollywood is all about making money and is very impersonal. But 'Love, Simon' is such a passion project for director Greg Berlanti.