Now that I'm taking some time off from school, I've been reading a lot to make sure I don't forget everything. It's mostly classics and nonfiction accounts from actors, directors and writers from the '40s and '50s.
The time I'm not spending with my kid has to be worth it, so when I sat down with my agents after I was ready to go back to work, I told them: It's all about the directors.
Directors didn't know what to do with me in college. I didn't really sound like a belter. I didn't look like a soprano. But in New York, I was in the right place at the right time, where my unusualness fit the bill.
I have been working in television for quite a long time. In television, the writer is the constant, and the director is rotated in and out. I am very use to dealing with people's methods. And perspectives.
What I do have to get across is the truth of the moment within the given scene. It's my job, as a director and screenwriter, to create the environment in which all those moments will come together eventually.
Francis: You all think I'm insane-! it isn't true - it's the director who's insane! - He is Caligari... Caligari... Caligari!
Edward D. Wood, Jr.: I'm a movie director. Tor Johnson: Movies? You mean like the Mickey Mouse?
T.V. Director: Get me a bottle of milk and some tranquilizers. I see it all now, it's a plot... a plot...
[after Bud lost $100,000 on a 'dog' stock] Gordon Gekko: I guess your Dad isn't on the Board of Directors of *that* company, is he?
My criteria for doing theater has always been slightly different than my criteria with movies, in that there are a lot of reasons to do films, having to do with location, money, and first and foremost having to do with script and role and director.
Some musical directors have more chutzpah. They pick up the phone and talk people into giving. I prefer to call and say 'thank you' after the money has been contributed.
In 2009, at the Vancouver Peace Summit, I met a supporter of Free the Slaves, an NGO dedicated to eradicating modern-day slavery; weeks later, I flew down to Los Angeles and met with the director of Free the Slaves; thus began my journey into explori...
From a writing point of view, you now have teams of screenwriters working with a director. What's lost in the process is the power of that one heart, brain, gut and soul that makes something an original piece of writing.
The 'transition' involves the transfer of power from one president to another. In recent times, the incoming President has designated a Director of the Transition, a team leader, to oversee and administer the orderly transfer of power.
I've been shocked by film actors - 25 and under - having such confidence and cockiness to rewrite a scene. My background is more about the director being in control. It's all about yielding. It's an oddly submissive relationship in which you're mould...
I like working with south Indian directors because they are very disciplined. They visualize their entire story and screenplay in their heads even before they start shooting, which I respect. They finish their work on time. Being a disciplinarian mys...
I really think the mind of someone who hasn't been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I'd like to do a big picture with an unknown director.
I love doing big movies. It's awesome! You have all these toys. The thing I like about this movie is, like they always say, directors have the biggest train sets! Don't tell anyone, but I'd do this for free.
I have many valentines. My mom and my sister and my directors. I got calls from all of them. And my friends. I respect what Valentine's Day stands for because it is about love.
I fall in love with every film while I'm doing it. I fall in love with the directors, I fall in love with the process. I don't think I could do it otherwise.
Sometimes directors will hire you and say, 'Oh, we love your work.' And then they start to tell you how to do it. I say, 'Hey, man, back off. You hired me to do it. Let me do it.'
