I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives.
Every single director-actor I talked to, from Warren Beatty to Clint Eastwood to George Clooney, said the biggest mistake they made is not shooting enough footage of themselves.
There's a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.
You have to have the essential pleasure of making a movie. It's such a huge factor and adventure for a director because you really are the leader and the captain.
There is a kind of thinking in the Church that wants to reduce the priest to a mere functionary, a managing director, where administration rather than doctrine and worship are to determine the form of the Church.
I can't stand directors who try to micro-manage everything. When it happens these days I just walk off set, saying if they don't like the way I'm doing it they can get someone else.
If I feel the part is right, and I know that the producers and the director want me, I'd go for broke. Always.
You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.
As an artist, program directors always want to put you in a little box.
Clint Eastwood is an extraordinary director because he knows the value of a buck. He knows where it will show on the screen.
Now I'm kind of established as a director, I much prefer directing to writing.
Voyeurism is a director's job description. It's an artist's, too.
If you have the right actors and you can give them the freedom to explore, you've done a lot of your work as a director.
I find it kind of weird that directors want to put themselves in their films.
I'm communicating with the directors of the Soviet companies, and I see that it is wrong, but when I go to the official discussions, they discuss we should change the color of the walls.
I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.
Working with green screen, you really rely on the director in a way that you don't on different types of films.
As a director, you're only as good as your collaborators. You surround with collaborators that are going to understand what you're trying to do. Not only that, they're going to push and fight for what you're trying to do.
I never wanted to be a director.
If a director can find the exact combination between the written word as a guideline and improvisational input from his actors, I think that's where you'll find the most successful work being done.
Most directors have little lists in their heads of people they really want to work with.
Well, if you ask any filmmaker how they got into it, everyone came a different route. Ive never actually watched another director work.
Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.
I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.
You have to be strong to be a carpenter, maybe, but the director of a film doesn't need to have muscles.
