Actually, what will be shown from here to eternity will be Burt Lancaster and Deborah Kerr cavorting on the beach. 'From Here to Eternity' must have seemed like a chore to its director, Fred Zinnemann.
They fired director Richard Donner because they didn't want to pay him, and he's the reason the franchise became so successful in the first place. There's a big part of Superman II that he did that no one has ever seen.
So I write melodies - thirty, forty, fifty - then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide.
The first heart you win over is that casting director. In first meetings, they'll be the ones who see your pitch for the character. And then as you get further up, they'll be the ones reading with you in front of the network.
Well, I wasn't just kind of standing in a queue at McDonald's and someone sat down and said, 'You're the director of a $100 million Hollywood movie.' I've been working in commercials for ten years.
As the director of an opera, it is my responsibility to unify the style of the particular performance, but one can certainly approach the piece from different points of view. That's what makes it interesting and keeps it alive.
All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.
I had people in 'Entertainment Weekly' talking about how they wanted to throttle me because they thought I was too disgustingly cute, as if that were my fault, you know, as if that was my fault, not the fault of directors and producers and such.
It was a downriver 10-K in the mouth of the Amazon. I won in an hour and 20 minutes. It has to be one of the fastest times ever swum. The race director said there were no piranhas in that part of the Amazon. The water was too dirty.
Control is the wrong word. The practice is very much about sharing, and, in any creative practice, some individuals, whether partners or directors, are much closer to certain projects than I could ever be.
For John Woo, it is quite difficult to make a movie in Hollywood in his own style. Because Hollywood is based on a producer system, it is difficult for a director to express himself using his own style of filmmaking.
I was with the CIA for only three years. I worked in the Directorate of Operations, which is now called the National Clandestine Service. It's the part of the organization where the spies live. I didn't have much experience beyond the training.
The truth is, it's a totalitarian dictatorship when you're making films. You are the boss. You can listen to other people, and it can be a benevolent dictatorship, but it's a dictatorship nonetheless. A lot of directors go past their first experience...
Some of us are interested in directors, but really the vast majority of us are interested in actors. You experience the films through the actors, so they're all locked into your imagination in some kind of layer of fantasy or hatred or wherever they ...
Over the years, with all the experience, I've become more mature about the subjects I pick. I have a better understanding of what works at the box office. Once the story is finalised, I surrender to the director and follow him. After that, my perform...
The acting is something that will always be a part of my life, but the writing gives me a lot more creative freedom. You're a pawn in somebody else's chess game, whereas as a writer and as a director, you get to call the shots. And that's very thrill...
In a way, as an actor, you do all the preparation and then you want to forget it and just play the scene. As a director, you can't forget it because somebody will remind you that you forgot something. But you can know your plan well enough that you s...
I think we've always been fascinated with the idea of the romantic outlaw. John Gotti could be in one instance a charismatic, kind and loving family man, and in another, deadly to his enemies. The opportunity to tell the true story of Gotti with John...
'Slow West' is a film that I did with Michael Fassbender in New Zealand and Scotland. The director was John McLean. It's a film set in the 1800s. I play a young Scottish boy brought up in the royal family. I fall in love with someone who works on our...
What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, you've got to keep reinventing yourself to stay on top.
At almost forty years old, I assumed my career on camera was over. And I was certainly given that message by all the TV managers and news directors who passed on me when I was trying to get a job back in the business.
