You know, it's kind of a shame in a way but the more seasoned directors a lot of times have more difficult getting a job than first time guys. New kid on the block kind of thing.
People wonder why first-time directors can make a brilliant picture, then suck on the second one. It's because they're a little terrified the first time. So they listen to all the experts around them.
The Director of the Laboratory, George Reynolds, was most supportive of my efforts to work independently. There followed for ten years a glorious time for research.
When I was leader of the GLC, by the time I had been in control for three years, the difference in pay between the cleaner and the director general was a four-to-one ratio. I find that attractive.
By the time May rolls around, I'm probably going to want to spend a month on an island. But if Steven Spielberg or Steven Soderbergh or any number of directors were to say 'Hey, there's this role, are you interested?' I'd be there in a flash.
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?
Edward D. Wood, Jr.: Are you people insane? I'm the director. I make the casting decisions around here.
FBI Director Womack: Cocksucker! [Showing Mason his arm in a cast] John Mason: So, how's your bowling arm?
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.
