Use people whom you're excited by and who share your excitement... The ideal collaboration is one in which the actor and director are saying to each other, 'I can't believe how lucky we are to be making a movie together.'
With the commissioning of new schools undertaken by a local director of school standards, decisions will be fair and transparent, rooted in the needs of the local community. The admissions code and the role of the adjudicator will also be strengthene...
I never thought I was doing the same thing as directors like John Carpenter, George Romero, and sometimes even Hitchcock, even though I've been sometimes compared to those other guys. We're after different game.
People attach too much to the idea of being a model, that you can only be a certain way to have done it. You will always be dealing with it. You're an actor who used to be a model who never trained; there are not many directors queuing up.
As an actor, you're always at the service of somebody else's vision. In a play, it's more of the director's vision, and he or she's got their hands on you all the way up to opening night, and if it's a film, there are even more people.
TV, it's a director's medium, and they wanna make it look interesting. To be rehearsing mostly for the sake of where you're standing so they can do the lighting, that's what I don't like.
I was 25 when I was made director of marketing at 'Newsweek.' I was 29 when I was made chief executive officer of Kaplan Educational Centers. I was raised to be confident.
I have gone to Albany constantly in my capacity as budget director, because I don't think the way the transit authority works with the City of New York is very appropriate.
TV showrunners have become known entities to people who watch television in the way that movie directors have been known to filmgoers for a long time. When I started out as a writer and producer in television, I never had the slightest expectation th...
I'm not a real film buff. Unfortunately, I don't have time. I just don't go. And I become very nervous when I go to a film because I worry so much about the director and it is hard for me to digest my popcorn.
When you shoot an independent movie you have a very limited amount of time, and you don't want to be that actor, when a poor director is trying to get through a movie, that you're asking at every second to discuss performance.
I stopped directing in 2001 for four or five years, until I did the TV series 'Masters Of Horror.' I had been working steadily as a director since 1970. That's a long time. I was burned out.
I think there has only been one time in my entire career that I've ever gone back to shoot a scene. And it was a scene that, when we were shooting it, we knew that it wasn't working. We knew there was a disagreement between the actor and director. So...
Actors spend most of their time out of work, so I actually spend more time making furniture. The thing about furniture that's much better than acting is that it's just me. There's no director, no script - the concept is me, unless a client wants some...
As you're growing up, it's odd, because directors don't expect you to grow up. They think you'll be young forever, but as an actor, there is an awkward period when you're too young for old or too old for young, and it can be an odd time.
It's all about the director for me; we have to click. It's a trust thing. I'll say I'm ready to let down my walls. I'll cry for you as long as you need. But you're going to have to hug me afterwards.
Truth be told, I didn't want to be on T.V. I was going to be a writer or producer or a director, and at the end of my sophomore year, my department chairman put me up for a job doing weekend weather in Syracuse, New York.
Carl Hanratty: But, sir, we're gonna let him get away. Assistant Director Marsh: No, Carl, you let him get away.
T.V. Director: You don't know what this means to me. If you hadn't come back it would have meant... the epilogue or the news... in Welsh... for life!
Henry J. Waternoose: What a day. Sulley: It's just a rough patch, sir. Everyone knows you'll get us through it. Henry J. Waternoose: Tell that to the board of directors.
I'll audition for something and then the feedback has been, 'The director wants you, the creative people want you, but the studio is saying no.' It's depressing, but I understand. People are investing a lot of money and they want somewhat of a guaran...
