Some directors hardly talk to the actors at all.
All I mean is, I'm not the kind of audience comedy directors want at a test screening because I seldom laugh, and if I do, it's not very loud. That doesn't mean I don't like the movie.
I mean, there are many other directors who are probably both more skilled and excited to adapt novels or work within certain genre conventions. I'd like to do that kind of work someday, but for better or worse I'm too drawn by my own material.
Music is just one of the tools a director has with which to paint and I think it's one of the most effective.
For a director and a producer to be named on the writing credits is practically unheard of.
I'm not an easygoing guy as a director.
Jim Brooks is a very powerful director and it was a lot of intense work.
But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
I've worked on shows where the lead actor doesn't know their lines, doesn't care, and it affects everybody - the crew, the director, the other actors. It's definitely a responsibility.
I believe that every director's films reflect their lifestyle.
As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.
Burt Lancaster was largely responsible for me becoming a director.
The first thing I ask when Im offered a part is, Whos the director? which is something they never understand in Los Angeles.
You have to take away the idea that something you do is right or wrong. I don't think there's a right or a wrong; I think there's an "it works" or "it doesn't work" for the whole. And that's why you need a director you trust, so you can just keep throwing out suggestions.
[The director's idea for the film was:] A young American or English girl goes to Tuscany to visit English expatriates. She is on a mission to lose her virginity. That's a mission easily accomplished, if that's the only mission. The story had to be more complicated than that. Because there is so little happening dramatically, there had to be something to keep you curious.
In the re-creation of combat situations, and this is coming from a director who's never been in one, being mindful of what these veterans have actually gone through, you find that the biggest concern is that you don't look at war as a geopolitical endeavor.
Everything is the director's fault - you can quote me on that. There are no excuses.
You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.
The director I had most involvement with was Alex Rockwell. He gave me a lot of responsibility as an actor.
Disney was kind enough, thoughtful enough and believed enough in me, as a director, to wait for me to be available.
The worst thing for an actor is a director that gets on your nerves and says things that actually confuse you.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
From a director's point of view, if I can create different characters which impress the audience, that's fantastic for me.
Norwegian kids, they grow up well educated in film. So they have a lot of good directors there.
There was a Russian director named Elem Klimov, who did his films during the communist days. They were constantly struggling with the authorities and to be allowed to express themselves. But he did one of the best war movies I've ever seen - it's called 'Come and See.'
