I basically put myself into directors' hands and let them tell me what to do, and the more they told me what to do, the more I liked it.
The director is a bit analogous to the conductor of a symphony orchestra. It's a collaborative adventure.
My college training was primarily in theatre, with an eye to becoming a director, actor, or producer.
I deal with guys in their 20s and early 30s who are presidents of companies, who are movie directors.
My father was a television director, and I always knew I wanted to be in the industry, but I had thought my role was behind the camera as opposed to in front.
I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.
A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being.
My parents said, Oh, he's going to be a director someday. I wanted to be an actor.
It depends who the director is you know, I mean Ken Loach for instance. I've done up to 32 takes with him.
When I came to England, the first director I met was Charles Sturridge, who told me, 'You speak like somebody out of the 1950s.'
I think the toughest thing about being an actor in a film is to be with a director who doesn't know what they want. And that can be really, really frustrating.
The first thing I ask when I'm offered a part is, Who's the director? which is something they never understand in Los Angeles.
Whatever it takes, the job of the director is to be the leader and to get your actors where they need to go. That's a philosophy that I have.
I don't have any particular excitement about working with any specific director or actor at this point.
An appreciable number of directors have shifted to lower-cost films, allowing them to be satisfied with a more modest return.
Casting sometimes is fate and destiny more than skill and talent, from a director's point of view.
Outside their country, Hungarian directors have had, from the critics at least, a friendly reception.
If you're a director, your entire livelihood and your entire creativity is based on your self-confidence. Sometimes that's dangerously close to arrogance.
The film director, in many instances, has to swallow somebody else's decision about the final form of something. It's so hard as to be intolerable.
An established film director can just pick up the phone and say to a star, 'Hey, are you interested in doing a commercial?'
With Kubrick and most film directors, they are in complete control, but one can influence them.
