In 'Winter's Bone,' it's literally the director and the camera operator. That's it. Just a super-small Kubrick crew. You know what I mean? Like, 8 people.
When you start with Super 8, you are everything. You're the DP, the sound man, the effects guy. And what I started understanding, by working for other people, is that the best type of director is someone who rose through the ranks.
I remember that it was never that difficult for me to get a director to look up and pay attention to me. Mind you, I don't know if that's necessarily charm. But I've played roles where my character has to be charming and I've found it quite easy to do. I think some of it is in my bones, but some of it is more deliberate.
A film director has to get a shot, no matter what he does. We're desperate people.
Rehearsals are set up so that you find out all the nuances about your character. You never want to beat yourself up. It's about finding the right direction, and most of the time, the right direction is not what you think is the right direction. That's why the director's there: to guide you there.
There's the argument that you can relate to someone who's completely unrelatable. In the way that a director shows you his imagination on a film, then I get to show you my imagination in a big dumb character.
I wanted to find a way to merge my taste as an art and creative director with my new little obsessions: babies and motherhood and all of that. So I began working on my website, Romy and the Bunnies, which is named after my daughter, Romy.
I randomly went to a casting session in my hometown in North Carolina, and the casting director introduced me to my manager. I really lucked into it!
I choose movies, I never choose roles. I look at the script. I look at the director. I look at the other actors - and then the role.
My passion is becoming involved in good work, whether that means as an actor or writer or director or producer or all - that is not as important to me.
An actor is only a part of the film, not the whole, and very often, he is moulded by the director. That is why a good director can make so much difference to a film.
Be extremely subtle, even to the point of formlessness. Be extremely mysterious, even to the point of soundlessness. Thereby you can be the director of the opponent's fate.
I was fortunate to be able to do two movies with Harold Ramis. He was the kindest of any director with whom I worked. Harold was a genius. On top of his talent, he could do the 'New York Times' crossword puzzle faster than anyone! I am lucky to have known him as well as I did. I will miss him.
Many times I felt like I'd do better than what the director did, but some of them got a little discouraged because they didn't have full charge of making the film, and sometimes there'd be battles of egos.
But the privileges that one has enjoyed and exploited can sometimes turn against you: nobody thinks of you as a director, you are always an actress.
There's an inherent idea that if a Black executive producer and a Black director are going to do a movie based on a Black writer's book that everybody is going to be Black.
A lot of what I think I do as a director is try to give everything over to the actor. So I disappear.
Clint Eastwood. Here's a guy who's been involved in so many movies, lots of them masterpieces, and now he's a director. I just like everything I know about him. He's very decisive, he makes up his mind real quick.
A director is a choreographer, both politically and creatively.
I'm not a great director or an auteur; I'm an ensemble director. I do think I can get wonderful performances out of actors.
One of my favorite things about Telluride is because it's so small, the directors are really there for each other. You look at another director, and they feel the same thing you feel.
My husband's a director, so he understands what I do.
As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.
How do I let the director know how obsessed I am and willing to do anything for the movie? Like, I wanted to write this one director a letter, so I wrote him a handwritten note. But then I was like, 'How many people are writing this guy handwritten letters? Is it going to seem cheesy? What do I do?'
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
My all-time favorites that I always go back to are films by the director John Cassavetes. The movies he made, the work he left behind, have been a big influence for my work.
I'm an executive director at a company which gives out retail loans.
In a movie, you're raw material, just a hue of some color and the director makes the painting.
I am Hollywood's hottest young, middle-aged director, but I'll write out of New York because I don't want to become a salad head. That's what you become out there: a guacamole dip.
A script is only as good as the director who's making it.
I am a typed director. If I made Cinderella, the audience would immediately be looking for a body in the coach.
The director's who want to be innovative use the DVD as a tool to see what people have done in the past and you have other people who will actually take from better directors and that makes them better directors.
When you don't have time, especially for a director, you cannot do exactly what you want to do. You have to cut your dream to fit in the movie you're doing.
One day, we were doing a serious scene and fast talking like we do and we could not stop laughing and the director had to stop the production. We had to go to our trailer and calm down and do it all again.
I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.
You need these experiences. Just know that sometimes, the director has a specific look in mind.
