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.
I was very fortunate in having David Fincher, the director come to me. Now I've seen the finished product, I feel that every bit of the nine months we spent on the film was worth it.
Every different director has another language - for instance, Hitchcock does not like any bright color ever, unless the story says 'there goes the girl in a red dress.'
I am tired of kissing on screen. I have to do it because it is synonymous with me. Also, the producers and directors want to add that element. I don't give it too much importance.
I moved out to L.A. to be a filmmaker or director. I didn't even think about doing comedy or even acting. I wanted to be like Paul Thomas Anderson or Wes Anderson, but I wasn't going to a lot of comedy.
There's a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.
