There are a lot of directors who are knowledgeable about images, and others who aren't.
I think what's fun about the fairytales is just seeing what everybody interprets them as, which comes from the different directors and what they want to do with them.
However good a communicator a director is, unless they've been actors, it's just not the same as the shorthand you get with someone who's been an actor.
Directors never give you anything.
I always scout locations first. The apartments, the railway tracks, the café, the canal - I figure out the geography of the film.
I always think it's a sign of a truly gifted director when they can move seamlessly between genres.
I think every director has a different methodology.
Directors go their whole career without being able to tell personal stories and to work with a cast as talented as they are.
As an actor we're just like workers in a factory, we provide our services to directors.
David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.
You don't even need the director's judgement. It's too much.
And I just want to work with good directors and good people.
They say that theater is the actor's medium, television is the writer's medium and film is the director's medium, and it's really true.
I still make more money as I do as an actor than director, however I don't want to be a commercial director.
I don't even know if I can call myself a director.
I've always said that movies are a direct mirror of the director.
I've worked with a lot of great directors.
Directors have to push me. I have to be pushed up. Not all the time, but often.
Carefully execute every instruction given to you by the director, producer, and studio. But that would be a life not worth living.
I write music to please myself. Hopefully the director's enjoying it too.
I've run into some S.O.B. directors, but I gave them back as good as I got.
[Roger] Vadim became famous worldwide as a director, and I as an actress, but the other side of the coin was terrible. My life was totally turned upside down. I was followed, spied upon, adored, insulted. My private life became public.
I do think that's so much a part of what being a director is - in working with actors - to really try and be sensitive to what each actor needs to get to where he wants to be.
I came up in the community center. I used to be physical director of the South Central Community Center in Chicago on 83rd. It's still there. It used to be around there when I was a kid.
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.
