Directors Quotes - Page 34

Emil's [Nava], the video director. Originally, I was meant to do all the stuff that the puppet was doing. I just wasn't that comfortable with doing it, so he had a puppet made.

I went to Cal Arts and AFI, and I worked on 'Bonfire Of The Vanities.' I got this grant from the Academy to be Brian De Palma's apprentice director. And it was such a harrowing, disillusioning, awful experience.

I'm not a great fan of green screen. It's not much fun for actors. It's great for directors and technical people and cameramen.

As an actor, you're a color of paint on someone else's palette. But as a director, it's your canvas and you make the painting you want to make.

I think the other honest attraction was that I just grew up loving watching TV and loving watching film, and there's so many directors and actors that I dreamed of working with, I just really wanted to take a crack at it and see if I could ever work with some of those.

There are so many movies like this, where you thought you were smarter than the screen but the director was smarter than you, of course he's the one, of course it was a dream, of course she's dead, of course, it's hidden right there, of course it's the truth and you in your seat have failed to notice in the dark.

I kind of have an interest in all history. And I suspect it comes from being Irish - we like stories, we like telling stories, which makes a lot of us lean towards being writers or actors or directors.

You have to steal a lot. You have to have a criminal mentality to be a film director.

Tony Scott was one of the best directors Ive ever worked with, and I was devastated when I heard about his death. He was a great guy with great energy. But this is a difficult business, and peoples lives are sometimes difficult.

Actors are accustomed to doing exactly what the director or writer requests us to do, and rarely get involved in that part of the process.

The great thing about having spent all this time on film sets is that I've been able to watch directors and how they work. I now know that this is what I want to do as well: to tell stories visually. But it's definitely my vision that I want to put across, nobody else's.

Getting back in the directors chair - there's a sense of like doing something every year. It's not like riding a bike, you're always learning new things, you're gonna face new challenges and when you face new challenges you'll have an answer for them.

My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.

I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.

Now, before you make a movie, you have to have a script, and before you have a script, you have to have a story; though some avant-garde directors have tried to dispense with the latter item, you'll find their work only at art theaters.

I always have directors who are somewhat frustrated because they'll reference a beautifully obscure film from the '50s or '60s or '70s, and I've not seen it.

Producers generally don't like me; directors do, generally. Convincing the producers is hard. They can't see the commercial value behind such a face, nor would they get a commercial value, necessarily - and I don't mean that in a good way or a bad way.

One would hope that you would have a CBO director who does not let ideology get in the way of making good estimates. [Congress] values having a credible institution that they can rely on to give them the best estimates possible.

The directors you trust the most are the ones, when you ask them a question, they've got the guts to say, 'I don't know.'

I'm a student. I want to do better, and I want directors who can find the actress in me and be my teachers. I'm interested in the whole process of editing, post-production and direction.

Directors don't always create, they can also destroy with too many demands.

I do believe in us as actors and directors and writers and producers and also as movie-goers. We have much more power than we believe we have. Without our ticket, studios can't make traditional decisions.

When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.

Work very very hard. This business is no joke. Make sure you know what you want or you might be taking someone else's view instead of your own.

I don't move until an actor is happy, but it was very important to me as a so-called "first time director" to keep the machine moving. It was especially important to me to keep it moving and not be some kind of precious writer-director.