It gave me a lot of pleasure and pride that 90 percent of the crew for 'Monsoon Wedding,' and most of my film, are women. We get the work done, you know, much lesser play of ego... And I really believe in harmony, I believe in working in a spirit of ...
At least I know that one film-maker in my career has had the initiative to come to me and thought of me as being capable of doing interesting and complicated work, and so I have a new-found belief that other film-makers will see me in a different way...
I mean, I'm new but I've always been very interested in film making process and I've been lucky enough to work with film makers in my past that have been very encouraging to let me hang around. I get so emotionally vested - that the producer part of ...
I think it's a little simplistic to explain a work through the psychology of its author. In other words, that Haneke has emotional problems, so I don't have to take his films seriously. By using this argument, the viewer retreats from the challenges ...
In my view, the plangent artificiality of a lot of creative work results from the fact that the people who write novels, direct films and put on plays tend to read too many novels, watch too many films and go to too many plays.
It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridicu...
BARRY GIFFORD, Author of "Wild at Heart" on DANGEROUS ODDS by Marisa Lankester: "Marisa Lankester's unique chronicle of high crimes and low company is as wild a ride as any reader is likely to be taken on. She was the lone woman in the eye of a preda...
So whatever I might have started to learn at that age was all undone by the next director and next crew in the next cheap picture, because I was allowed to get away with murder.
I feel whatever an actor does on screen is something the actor 'does,' and what the director can do is to tell, talk or instruct. So, all the credit for an actor's performance goes to the actor alone.
I think Chris Weitz is an amazing director, and his sensibility - I wouldn't even know how to articulate it - it's just, he's a very sensitive, interesting guy.
There are many amazing female directors that made work in more skewed times, so we should be thankful for the boundaries they pushed through.
The first thing you must know as an actor or director is the space you will inhabit. See the architecture; imagine where things can happen in space.
I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.
I produce the way I would love to be produced: In ways to create the best conditions to make your movie, but also to create a space in which the director calls the shots.
If I have freedom to experiment with a scene, then I try my best to do that. With TV and with the variety of directors you have on a season, you rarely get that opportunity. It's more structured.
On set I keep myself to myself; I'd rather the director speak up. I'm not gonna direct a younger actor. I think the power of example works best, actually.
There's no way a director can communicate with every single person on the set and yet they need to motivate and instill an ambition to want to do their best work.
I've been lucky enough to work with some of the best TV directors there are, and I've learned from how they had to handle when things don't go quite according to plan.
It's a writer's or director's role to be cerebral, whereas for an actor it should be a visceral, gut thing. When the action starts, it's best to turn the brain off and let it become an instinctual thing.
My Mom is a ballet director, so I had this idea in me that classical training is the best foundation for anything you do, so I wanted to get a classical background and voice.
My very first news director said to me that it's better to be hated than to have viewers be neutral.
