Directors and writers have a lot of stress as well, because they have people they answer to.
I'm a good actor in that sense for directors because I always do what they say.
I'm an actor because I love movies, and always have loved movies. I'm a film buff. So, getting to work with those kinds of directors and getting to tell those stories is what I want to do.
I don't come to work as an actor. There are many directors who can direct without ever having acted and do a great job and connect with their actors and lead them to excellent performances without themselves having had an acting background.
I would love to get great performances from actors as a director, because that's what I'm always looking for, a director that's going to help me go places I've never been before.
I don't want to be a director, or to have responsibility for hundreds of people.
A movie has its own fate, which often doesn’t depend on the performances of the director and actors.
When I was in college, my brother, B.R. Chopra, who is everything to me, was a director in Bombay. He taught me filmmaking. What I am today is because of him.
Directors work 10 times harder than anyone else. Get paid a quarter.
The first work of the director is to set a mood so that the actor's work can take place, so that the actor can create. And in order to do that, you have to communicate, communicate with the actors. And direction is about communication on all levels.
All the directors that I've had the opportunity to work with are fantastic.
I wouldn't not want to be a director and write as I wouldn't not to want to be a writer and direct movies.
I'm doing my best. I read in the paper that I'm an action director. They always say that, "Action director Walter Hill", if they bother writing about me at all. I think that's fine. I'm happy to do the work.
So I moved to Europe and only came back when directors like Robert Altman would call me after they'd seen my work in Full Metal Jacket.
I worked with young directors all my life, only young directors.
Kubrick was one of those directors who actually did practically everything in his movies. He actually directed, photographed, wrote, lit, edited - everything. A few people can be like that.
When I make a movie, I don't break it down and analyze it. I could but it would get in the way of doing a job - on instinct based on all the research we did going in. you want to trust yourself and your director and your acting partners in the circumstances you're shooting. I don't like to have any kind of overview.
There are only three reasons to do a movie: the cast, the director, the role. Like I say, you live in a minute of screen time, but to prepare for the minute takes much more than a day. You'd better be excited about what those moments are, even if they're the hardest moments. Or the smallest.
Miloš Forman is a great director; Jim Brooks is a wonderful writer and director.
It's an important thing to have a relationship with the director, and have it be a positive one.
The film director, in many instances, has to swallow somebody else's decision about the final form of something. It's so hard as to be intolerable.
Originally a record producer more or less hired a bunch of professionals to participate in a recording session, the performers and the technicians, and a music director was put in charge. That directly related to a film producer's job.
As a director, I have to feel realism from actors, and they can't be plastic. The words for me are secondary, but the chemistry between the actors is most important. However, you have to go by the script because it's related to production, otherwise you will not finish your project.
Most screenplays depend primarily on the vision of a director.
As actors, we have the opportunity to work with many directors. Directors only work with themselves and other actors. They never know what it is like to work with another director. So that relationship that one has with a director is entirely always the king.