Looking at acting, in the movies or the theater, and the way I like to look at it, it's just an extension of childhood play... Kids play and imagine in a very intense fashion and they don't need any director telling them, 'You really have to believe ...
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.
I did my first movie, 'The Mambo Kings,' in America without speaking the language. I learned the lines phonetically. I had an interpreter actually just to understand directions from my director.
The red directors were one of the main political forces. Another force was the former Soviet ministers who lost everything because of the transformation of the Soviet Union to Russia.
There's always the pressure on the director of how to transition from one scene to another, especially when it can really be oblique on 'Game of Thrones.'
Especially as a director on 'West Wing,' I directed a lot of different things in a lot of different ways and really stretched my wings.
There's people constantly asking you for something on set, so the multi-tasking of motherhood transfers very well to being a director. And I think you're compassionate.
You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.
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.
Being an actor really, really strengthens me as a director. There's just a certain type of understanding that comes from having been there and knowing how much is really being asked of actors that helps me.
I never thought of becoming a director. When I was twelve, the passage from silent film to the talkies had an impact on me - I still watch silent films.
There's a way in which filmmaking is a director's medium and television is a writer's medium, so even as TV gets more cinematic, it's still guided by the writer.
As an actress, I always felt like the people you met on set were interchangeable with the people you met on other sets - the grips, the gaffers, the actors, the directors - everybody steps into their role.
I wish I could say that when I didn't agree with a director I defer to him, but I think sometimes I'm a little self-righteous.
Here, we have female directors and producers; in fact, one whole channel is run by a woman. Pakistani TV is progressive, and hence, characters that are shown are of today as well.
It’s shameful that today’s mouthy political expositors aren’t better versed in Orwell. Can you imagine a theatre director who hasn’t studied Shakespeare?
When I was in college, my brother, B.R. Chopra, who is everything to me, was a director in Bombay. He taught me filmmaking. What I am today is because of him.
One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.
We make a contract within ourselves as actors or directors or writers about how much of ourselves we let into projects. You can actually figure out before you work on something how much blood you will have to let emotionally.
With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.
What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and ...
