When my film flops, I believe it is my mistake. There have been times when I didn't come out of my house because my films didn't do well. I lock myself in for months. I don't talk to people. I feel bad for producer, director, for those who lost money...
I came to Los Angeles only after filming 'A Good Day to Die Hard,' when I was cast in the independent movie 'Delirium.' Director Lee Roy Kunz was looking everywhere for a Russian actress. He saw my photos, and only then he learned where I starred bef...
If I'm going to do a big film, I'm very choosy about what I do, because I think I want to continue - in fact I'm sure I want to continue - to stay in the realm of independent films with directors and writers who are just emerging with new ideas and a...
Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.
A lot of directors straight out of film school are very technically minded, but they don't have an understanding of actors or how to talk to them.
As a director you have to be careful you don't over-design the film. You have to be careful that the period aspect does not take over.
I keep meeting directors that are so irresistible. I only do irresistible films, because I don't need to act to feel myself alive.
I hooked up with director Jacques Audiard for this film called 'Rust & Bone' with Marion Cotillard. I loved that experience so much I'm truly sad that it's over!
My dad was a low budget film director. I grew up as a kid making movies, based on the love of seeing what my dad was doing.
Well, I certainly was exposed to and learned to appreciate the work of great directors early on. As a kid, my mother used to take me to see really interesting arty films in Los Angeles.
The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know. Actually you can cover a lot of bad direction with good acting.
A lot of the films now are more focused on the visuals than on the actors. I think all directors should go to drama school.
In my career, I have played a gangster, an ex cop, a journalist and a film director. Yet, the label of a serial kisser refuses to leave me.
A film director has to get a shot, no matter what he does. We're desperate people.
As a director, or just a film fan who wants to enjoy the festival, Cannes is the worst place to be. But it must be a paradise for distributors and importers.
A lot of times passion projects or films are difficult to make because they don't have proven directors attached to them.
All film directors, even the ones using 3-D today, want you to look at what they chose.
Every time you say yes to a film there's a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.
It's sad - it's sad for us old enough to remember when directors ruled, and films were substantially better than they are today. But it's hard to argue with those kinds of grosses.
Historically the director has been the key creative element in a film and we must maintain that. We must protect that, in spite of the fact that there is new technology that's continually trying to erode that.
It's often the case with directors that they don't like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.
