Because acting was my only professional outlet, I put a ton of pressure on the roles that I did. I overstepped my bounds, I tried to control things that were out of my purview as an actor and in some cases even tried to direct my scenes because I felt I knew how they should run rather than trust the director.
Asking the director of 'The Lord of the Rings' to read my novel was exactly as terrifying as you'd think. I came this close to not doing it because I was so embarrassed. But he was so gracious about it.
The first film that I can remember seeing where, like, I just couldn't stop watching it - and it didn't necessarily make me want to be a director because I was so young, but it made me know that that's what I wanted to be doing - was 'Alien.' And I saw that when I was probably just over 10 years old.
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.
As a director, when you embrace a project, you try to understand as much as you can about its world, and you do that by embracing and engaging with people who are in that world. Then it's down to your best instincts, which is what most directing is about anyway.
Being nominated is a great thrill, and we like to say that all four of us were nominated, which means that our director, Anthony Page was nominated four times.
I learned that you have to say that you're a filmmaker. You're not a screenwriter; you're not a director for hire. You've got to take charge. You're a filmmaker, and you're going to make a film.
It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
For me, the French new wave is Truffaut and Rohmer. Godard I sometimes have trouble with because he's very much of a director's director. I feel Truffaut is such a humanist, and I always go in that direction.
I'm not so in a rush to direct just anything because I'm lucky that I can make a living so far as an actor and not have to worry about that as a director. And so I can be a little more choosy in things I direct.
With a book I am the writer and I am also the director and I'm all of the actors and I'm the special effects guy and the lighting technician: I'm all of that. So if it's good or bad, it's all up to me.
I found that something exists between director and actor sometimes that surpasses or transcends language.
Growing up the son of a director has made me very aware of the various turns that a directing career can take. Sometimes your films turn out exactly as you want. Sometimes they don't. I spent a lot of my childhood on sets. I think as a joke, my father gave me a line of dialogue in each of his films during the worst moments of my puberty.
With 'Anna Karenina,' I just think it's a stunning visual tour de force for a director who is at the top of his game.
I'm becoming a frustrated director, I think, in an actor's body.
Masood Ahmed brings to the position of director of external relations extensive experience gained in a range of senior positions in international finance and development.
Sabrina ran for seven years with a different director every week.
Obviously, if a director doesn't communicative a clear, relevant vision of the material, it will not succeed no matter how good the material.
If I were to be cast as Cyrano or a Connecticut prep-school teacher or a gay boutique owner, it would only happen if some director I had worked with in the past said, 'Why don't we give Rispoli a shot at it?'
I think that for the actors, the last thing that they want is a director that's not watching, a director that goes 'Okay, it sounded good to me,' and they were doing something else or preoccupied with something else because they were worried about the light changing.
You talk about what a director, he was smart. He said, Turn the camera on!
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
I think film and television are really a director's medium, whereas theatre is the actor's medium.
I became, and remain, my characters' close and intent watcher: their director, never. Their creator I cannot feel that I was, or am.
My parents, and especially my mother, encouraged by the director of the local school which I was attending, wanted in spite of everything to send me to a National School of Arts and Crafts so that I could later become an engineer.
I have to say that whatever decisions I make, I really do think that movie making is a director's medium. They are the people that ultimately shape the film, and a director can take great material and turn it into garbage if they are not capable of making a good movie.
I have a lot of musician friends. I worked in radio as a music director, and I know everybody hears about the George Straits and the Garth Brooks and the Kenny Chesneys and all that, but for every major star, there are thousands who didn't quite make it.
I wanted to do - there was this film called 'Magic' that Anthony Hopkins did. And the director wanted me. The writer wanted me. Joe Levine said no, I don't want any comedians in this.
I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.
I don't really have a drive toward being a director at all. Not that I wouldn't rule it out, but I just don't think my instincts lie necessarily in a very visual way. But I am very interested in storytelling, narrative and character development, so writing is something that I absolutely want to do.
When I came to Mumbai, I didn't know a soul. The only person I knew was an assistant director, which, everyone agrees, is the lowest form of life on the set. So, it was not a great contact to have. So, I knew from day one that I wasn't going to be launched opposite a superstar.
Portraying Mozart is a scary task. Whenever I'm asked to portray actual historic figures, it comes with extra accountability. Not just to your director and playwright, but to the man himself and the beloved persona that the public forms.
'Crash' came from personal experience. I saw things inside me from living in L.A. that made me uncomfortable. I saw horrible things in people and saw terrible things in myself. I saw a black director completely humiliated, but the three people around me just thought it was funny. 'No,' I said, 'that is selling your soul.'
But I don't think of myself as a foreigner or a Frenchman! I just think of myself as a director. Whether I'm French or Australian or whatever, it's really not important.
The director is planning on titling the film 'Yummy Fur' so we are probably planning on changing the title of the book to 'Yummy Fur' to match the film.
I've always had a strange acting life. I'm the daughter of a director, and a very French, typical director who fell in love with every single one of his actresses. And that's also something that's kind of normal in the acting business, because everything is based on desire, one way or the other.
