It will be hard work. It's always hard work, and hard work from everybody within the team - technical director, mechanics, drivers, engineers - everyone in the team.
The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.
What I think happens, and that you have to acknowledge though, is that a director uses a book as a launching pad for his own work and that's always very flattering.
As a Japanese actor, I really want to work with a lot of actors and actresses in the world and many directors who have many different kinds of talents. I feel like nationally doesn't matter at all.
But when you work with the director and the real person who is playing opposite you, it changes everything. You are almost in a working session. I was very comfortable, and that's maybe what helped me to get the part.
I miss that process of getting the script and reading it and working on it. Every actor has their own way of memorizing their lines, and the whole process of starting to work with the other actors and the director, and doing rehearsals, and going to ...
I'm wary of artistic directors who say, 'Here is my vision', because it's empirical. Basically it's about who you work with and what plays you put on; the vision comes out of that.
There are American directors I'd really like to work with, but I don't know how much I want to be sitting in my house, doing the rounds of meetings with CEOs. You have to be really hardworking to do all that, and I'm lazy.
So I moved to Europe and only came back when directors like Robert Altman would call me after they'd seen my work in Full Metal Jacket.
The two most exciting things for me to get to work on 'The Wolverine' was getting to work with James Mangold, the director who directed '3:10 to Yuma' and 'Walk the Line' as well as getting to work with Hugh Jackman.
Back when I was looking for my next step and was researching Gannett, I was interested in who was leading the various businesses within the organization: Are there a lot of women and minorities in important, operational roles, senior management and t...
I feel fortunate. I've really gotten to work with amazing talented people, and to learn from them, which is why I'm doing this. If I can work with the best director I'm going to do it.
Choreography is amazing. I'm still a dancer, yet I transitioned into choreography then as a Creative Director. All of these creative elements are brought out of being a dancer. Directing is something that comes out of understanding movement and chore...
I'm so happy to have been a part of that process and I would go straight back into the desert in a ton of chain mail for Ridley any day of the week. He's an amazing director and I can't wait to see the long version.
I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms , he does it in emotional terms. I got along really well with him.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
Our memories are convenient lies we create, cribbing images from others' experiences. We discard the personal specifics which don't conform to the ideal conventional beauty created by art directors and cinematographers.
In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring o...
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialog...
I know as a director I hit it out of the park sometimes, and sometimes we haven't, and that's kind of the way art goes. You just have to be willing to take the 'failures' and learn from them, make the best of them.
The idea of Plato that philosophers must be the rulers and directors of society is practiced in India.
