What do you want?” Boyd whispered. “You—
Yeah, I've worked with a couple of female directors, now, and I think that they're amazing. As good or better than guy directors.
I think that it helps that I have acted. That said, it doesn't mean you're going to be a good director.
In the acting game, you spend a long time fighting against what the director perceives you to be. And half the time the directors don't know.
I still make more money as I do as an actor than director, however I don't want to be a commercial director.
After directing movies, I respect any director in this world, because making a movie as a director is tons and tons of work.
Director Burgess: Who's the victim? John Anderton: Somebody. Director Burgess: Who? John Anderton: [trying to remember the name] Somebody. Leo Crow. Director Burgess: Who is he? John Anderton: I have no idea! I've never heard of him! But I'm supposed...
John Chambers: Let's see. Well, this one's got an M.A. in English. She should be your screenwriter. Sometimes they go along on scouts because they want the free meals... Here's your director. Tony Mendez: Can you teach somebody to be a director in a ...
It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.
Working with actors really depends on the actor. Most of the directors I've worked with don't really know how to speak to actors, actually; some of the best directors don't.
I've always noticed a difference between working with a director and working with a writer/director. In how much they're invested and how specific they are.
My dad is a successful television producer, director and writer, and my mom's a director and writer. Even when I was young, I wanted to be an actress.
The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.
Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.
I worked with Roger Moore on three episodes of 'The Saint.' He is a lovely man, a good director, and was my favourite actor to work with.
Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.
When I was the NIH director, I often expressed envy of institute directors: they had the money and ran the scientific programmes.
I am sure I am one of 2,000 film directors in the world that Tarantino admires.
I have hardly ever worked with the same director twice. But when you have worked with a director before, you understand his behavior.
Working on a play is a vibrant and collaborative business. Everyone from the choreographer to the music director to the director to the writers work together toward the same goal, and everyone chimes in on everything.
The only person who has artistic control is the director, and 'director' is how you spell God in Hollywood.
