Every time a director calls me and says, 'If you practice a lot in two months, can you be an American?' And I always tell them, 'Well, maybe but I'm French. So it's going to be hard to be someone else.'
After I directed for the first time, I wanted to call every director I'd ever worked with and apologize. In television you are tasked with shooting 42 minutes, or whatever, in eight days. That's not a lot of time.
I had to endure the worst time of all in terms of racial discrimination in Hollywood when I first started out. It was inconcievable to American directors and producers that a Mexican woman could have a lead role.
I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.
The thing about Hitchcock which is quite extraordinary for a director of that time, he had a very strong sense of his own image and publicizing himself. Just a very strong sense of himself as the character of Hitchcock.
As a director, I think it is important to keep a space between yourself and your film. It's like you are in the movie, but at the same time you are watching it from the outside.
I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand.
I just trust the director and never overanalyse the script, screenplay, etc. You are just taking a bet at the end of the day, so confidence, be it on the filmmaker or the script, is all that counts.
Silas: I am the league's director, Silas Ramsbottom. Additional Minions: [giggles] Bottom. [laughs] Silas: Hilarious.
TV Director: [referring to Dr. Foster] Get that guy off the air! Camera man: What the hell's going on?
Rosa Klebb: I hope Kronsteen's efforts as Director of Planning will continue to be as successful as his chess. Kronsteen: They will be.
Unless you're the director on the movie, or putting up the money for the movie, you really don't have a lot of control.
I don't have a philosophy for choosing roles. Sometimes, it's just, 'This might be interesting; that might be fun to do.' There might be interesting actors or directors in the project, even if the part is not important. And then sometimes, you need t...
Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.
The nature of the beast is that film is a director's medium. It's not a Tracy Letts play, it's a John Wells film. 'August: Osage County,' as a play, is done. Written. On the shelf. It'll be performed in its entirety for years.
When you see a bad romantic comedy, you see the script, the director, and the actors trying to create this warmth and this pathos and this feeling that you care about them. That cannot be manufactured - it's either there or it isn't.
Plan B is really a little garage band of three people, and our mandate has been to help get difficult material, that might not otherwise get made, to the screen and to work with directors we respect.
I'm on a crusade to get movie directors to get their science right because, more often than they believe, the science is more extraordinary than anything they can invent.
The first thing is that we're being attacked by both the Writers Guild and the Producers Guild. Both of these groups are trying to diminish the importance and strength of the director. They're trying to do it through both frontal and side attacks.
I can tell you that from the director's chair, young actors love to be challenged, to be given killer lines that take time to wrap their mind around.
I love working with the same actors repeatedly. That happens a lot. It's kind of inevitable, especially if you work with the same writers and directors and you start to form a company of actors. You gravitate towards each other.
