A lot of directors in my experience are very receptive. They see what you do first, and then they want to find a place to put the camera, and they tweak you here and there.
This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.
European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.
I'm only wanted by directors for the image I give off, and it makes me angry. I always wanted to be an actor and not a beauty pageant winner.
Some directors were brilliant in the silent era but never felt at home in sound. It's like a sculptor being forced to take up painting.
I couldn't be a cameraman or a designer or an actor - I have to be a director because I learned how to do that from my dad.
My dad is a director/producer and my mom is a dancer; she performed with Alvin Ailey, but I didn't even think about becoming an actress.
I have always been a great fan of Peter Chan and many other great directors who specialize in anything outside of action.
Being an actor is great; you chill in your trailer, and they bring you a breakfast burrito and coffee. But as director, you're responsible for every little thing.
Do you imagine Sergio Leone with a philosophy? Come on! He was a primitive of movies, a great director on set.
I would be a terrible director, I could never write anything. One of my great strengths is that I know all of my weaknesses.
You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!
I majored in Chinese Studies. I'm probably the only director of chicken Indian zombie movies who can speak pretty good Mandarin.
The directors that I end up having a really good time with are the ones that understand the fluidity of the medium and are interested in catching lightning in a bottle.
There are two qualities that I've noticed in good directors: One is that they have their vision very strongly in place; and two is that they listen to everyone's opinion and still remember their vision.
Good directors can bring certain things out of you, with their intensity or gentleness or sensitivity or understanding. They can make an actor feel he can do no wrong.
Directors sometimes have good ideas that I wished I'd had, not on rewriting but simply on staging.
In the future, everybody is going to be a director. Somebody's got to live a real life so we have something to make a movie about.
The thing about For Better or Worse is the only thing that made me an okay director for that is that I have a sense of humor, and it was supposed to be funny.
A director recommended me for the role on 'Soap.' They said, 'She plays heavy roles, murderesses and the like.' He said, 'On stage, she could be very very funny.'
I loved being in the room with Mamet as a director - he is the most generous, funny, delightful person to work for every day.
