Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in ...
I love my lifestyle now, but at the end of nine months, you're toast. You are toast. It's like running a marathon. You can't think while you're doing it. Especially when different directors come in who are not part of the posse, the circle.
I'll say this, I'm no stranger to working with a foreign cast, foreign directors, that sort of thing. I love it, because I think that when you have people from different countries, it sort of brings everyone together, it's more of a worldly film.
I remember one director in Argentina said to me, 'You are not going to have any opportunity to be a leading lady because of your height.' And I didn't care. I don't have a complex.
I was the one who kept telling my second husband he should become a cinematographer. I paid for him to get his director's card, and he went on to make 'Godspell.'
We as comics do want an immediate response from the audience. It's really quiet on the set, and there are only the producers, and the director, so a comic is looking for someone to give a reaction, even if it is the camera guy.
I'm better suited to be a director, I think. I see myself as the general author. I hate the word 'auteur,' because it sounds so solitary when filmmaking is anything but solitary.
Before 'Lord of the Rings,' some people would have just classed Peter Jackson as a horror director. But there is a mind there.
When a subject pops into a director's head, you either fit in there somewhere, or you don't. An actor is only who he is. Especially as you get older, there's not as much of a range of potentially feasible parts.
Part of the advantage, and part of the result of trying to be a producer and director, are the practical things, you find. It's so advantageous to go to a place that you already have a feel for, a literal and spiritual familiarity.
It's easier to go from theatre to film than the other way round. In film you're absolutely loved and cossetted and cared for. In film your director makes your performance. In theatre you're carrying it all.
I have actually lost a couple of roles - film roles - because a director or producer thought I looked too much like George Costanza, and I could not get out of that box.
When I can see things through the lens of the director, it's like being able to see the whole puzzle - it's not just about my role, but the whole script.
For me, being a director is about watching, not about telling people what to do. Or maybe it's like being a mirror; if they didn't have me to look at, they wouldn't be able to put the make-up on.
When I'm writing a movie, it's usually pretty close to what the movie is going to be, which is just a luxury of being a writer-director.
I think I'm probably one of the worst directors around, but I do have an interest in my fellow man.
You are a dancer in this great stage we call life. Your imagination is the writer and thoughts are the director of the dance drama. So unleash your thoughts to dramatize your dance.
John Carpenter created the idea of Halloween, so his vision remains the most focused and intelligently directed of the series. The directors that have followed have kept the original intent of the concept.
I think I'm a very very nice director. Very supportive, very nurturing. I definitely try to challenge my actors but I think I'm very supportive.
Yes, I was hired by Universal because they needed a comedy director. They had seen Scandal and liked it. I saw an opportunity even in those comedies to begin my project of American films.
The director calmed me down and told me I was being too hard on myself. He went on to say that I wasn't quite as bad as I thought, but needed to tone things down a bit.
