Going into my second film as a director, it's night and day of what it was like going into my first film. It doesn't matter what you know in your head and what you've been taught until you're there and doing it; it's a whole new ball game.
And Louis Freeh was a completely dysfunctional FBI Director, who was actually waging his own private war against the Clinton Administration.
There are so many effects and so many things that are done digitally now that it's so hard for the director to really control the process, because there are more and more experts that come in.
At Camp One we were met by Director of Public Works Warwick Greene, grim and grimy. He has been working himself to death to make this transportation plan a success.
It's a morality film, and it poses the question 'What would you do?' I took it very seriously, just as the director did in terms of atmosphere and lighting, and I was just trying to help that vision along.
With 'That Awkward Moment', you could argue I'm just playing the girlfriend of Zac Efron, but the director was such a creative force and let me make her my own. I loved being part of something that felt so relevant and fresh.
I had a director who told me a story about a fan who had commented on how nice it was to see her sister laughing and how happy the show made her. I like to make people happy and make them laugh.
I think directing in a team is a really good idea because it stops the cult of the director as God straight away, and also you're discussing things on set so it opens it out to everyone and it becomes a totally collaborative thing. And you have someone who supports you when you're feeling a bit insecure.
I love movies where you can sense that the director risked biting off more than they can chew.
When I was nine years old I use to copy - not trace - the covers of the Donald Duck comics. Many years later I became a close friend of Jack Hannah, the director of the Donald Duck film shorts.
I don't care about names attached to the script. That doesn't matter to me. All things being equal, I would like to work with a good script with a good director, and the part I play is of less important than those two factors.
I don't think there is a movie that I've been on that I wasn't sure I could direct it better. But certainly also, as a director of photography, I have to serve the movie in whatever way I can as a filmmaker.
As a director, you try to find what is creative.
Whether I'm writing the script, or someone else writes the initial draft, I'm always an actor's director first. I always try to listen to them a lot and try to put their voices into their character.
To me the director's job is to leave it in better shape than you found it, literally.
I'm an actor's director.
I saw 'Alien' when I was 8 years old. To me, it was like a combination of Jaws and Star Wars, and that's the movie that made me want to be a director.
Choreography is amazing. I'm still a dancer, yet I transitioned into choreography then as a Creative Director. All of these creative elements are brought out of being a dancer. Directing is something that comes out of understanding movement and choreography. Directing movement is directing a dance piece.
Any director or writer or artist has the right to do what they want to do - freedom of expression is something I celebrate.
I'm not like one of those actors who's a frustrated director.
For me, I had to overcome shyness to be an actor. But as a director, you lose your subjectivity, your self-consciousness. And instead of just your role, it's the life of the whole play that becomes a reflection of you.
The guy that made me wanna make movies... and this is off the wall-is a guy named Michael Pal, the British director.
I think of Ray Harryhausen's work - I knew his name before I knew any actor or director's names. His films had an impact on me very early on, probably even more than Disney. I think that's what made me interested in animation: His work.
Originally a record producer more or less hired a bunch of professionals to participate in a recording session, the performers and the technicians, and a music director was put in charge. That directly related to a film producer's job.
The director is a bit analogous to the conductor of a symphony orchestra. It's a collaborative adventure.
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.
While a lab director can get done the things that he regards as important, he has the more important job of bringing out the best ideas of the broader scientific community. I learned this early in my career while I was leading the construction of the SPEAR facility.
I am not a cult director at all. I make Hollywood movies.
I think the director is becoming more important. To work under rushed conditions, you need to have an extremely professional director. If the director's good than the end result will be good.
To me it's like, every time I'm a director, like today, you're the captain of the ship, so you better dress like it. You're the host of the party.
If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.
Unless you're playing a historical figure, a writer or director can change their minds. And sometimes your job is to make them change their minds - to make them believe that you're the one that can do it.
I was the music director at a dinner theater called the 'Pheasant Run Theater' in the suburbs of Chicago, and that was my side gig while I acted.
It will be hard work. It's always hard work, and hard work from everybody within the team - technical director, mechanics, drivers, engineers - everyone in the team.
You act in a movie, and at the end of the day, the director and editor decide what your performance is.
I don't like people who use the press to advance themselves in a way that they haven't earned as an actor, performer or director.
