My literal responsibility as director of the CIA with regard to covert action was to inform the Congress - not to seek their approval; to inform.
I don't normally make documentaries. I'm a drama director. I've made a few short docs, but I don't like talking heads or 'voice of God' narrators.
To me, it always comes down to character and script and then director. If a character belongs to me, it's mine. We belong to each other, and I feel a fierce need to tell that story, and it just so happens that a lot of these characters have been residing in pretty dark worlds.
Part of an actor's job, in my opinion, is adjust to the characteristics of the director and try to understand to how he tries to work.
I guess my first professional experience was when my church choir director told my mother that I had a gift with my voice and said that I should think about auditioning, at 11 years old, for the chorus of our regional opera company.
I am very pleased to be working with director Woo.
The difference between an experienced director and a new director is not as big as the difference between individual directors, the temperament they have, and the things they're interested in.
You never want to be the director who dropped the ball, you know?
Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.
I've enjoyed my time in the game, whether it be managing Luton in the top flight, taking Spurs to Wembley or, as director of football, pinpointing players such as Jermain Defoe, Paul Robinson and Robbie Keane with real sell-on value.
My dad is a successful television producer, director and writer, and my mom's a director and writer. Even when I was young, I wanted to be an actress.
I've always been a chameleon from book to book, like a director who does different films in the best possible way.
Whether it's t-shirt and jeans or full monster suit, I'm still an actor underneath it all, and a good director is going to know that.
I always loved movies, but I never thought I would presume to be a screenwriter and definitely not a director.
I don't want to be a director, or to have responsibility for hundreds of people.
I have been connected with the Niels Bohr Institute since the completion of my university studies, first as a research fellow and, from 1956, as a professor of physics at the University of Copenhagen. After the death of my father in 1962, I followed him as director of the Institute until 1970.
I feel that being an actor is a front-row seat into seeing how everybody else makes their movies. Basically, being in the trenches for ten years is like a college-level course in filmmaking if not more. It feels like every director I work with and every set that I visit as an actor, I see someone else's definition of filmmaking.
The title 'Spirited Away' could refer to what Disney has done on a corporate level to the revered Japanese animation director Hayao Miyazaki's epic and marvelous new anime fantasy.
As a director, I've been able to combine with what I've learned as an actor and as a producer: it melds quite nicely into what I feel like I should have been doing all along.
I feel that I will be more of a feature director, and I will go away completely from videos. I want to do features and have written several of them. I'm looking to be more like a Steven Spielberg.
I kind of romanticized what it was like to be a writer and director when I was in my early twenties. Working as a production assistant knocked that right out of me.
For me, being a director is about watching, not about telling people what to do. Or maybe it's like being a mirror; if they didn't have me to look at, they wouldn't be able to put the make-up on.
From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.
I like Michael Bay a whole lot. And Jerry Bruckheimer. But I love Ben Affleck as a person, as a director, as an actor.
I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.
It's the director's job to piece together my performance, his interpretation of my takes, each take, and string them together and make a statement. I'm red paint on a canvas for a painter.
I'm an actor; I'm not a director.
I'm better suited to be a director, I think. I see myself as the general author. I hate the word 'auteur,' because it sounds so solitary when filmmaking is anything but solitary.
I try to be as good a director as I possibly can. I try to be prepared, and I hope everyone else is. The preparation, I suppose, means just about everything. Little things mean a lot.
In some instances, I would say the writer does deserve equal billing with the director. In other instances the director - especially if he wrote part of the script himself - is clearly more the author of the movie.
I always used to say, as a director, that I could make anybody good in a movie if you found the right part. It all comes down to casting.
I hear the way people talk about the children of famous people. They're not treated very well. The presumptions are usually quite awful. So I tried to establish myself with a couple of movies. After 'Juno' I thought: 'I think I've defined myself enough as my own director that I'd love to work with my father.'
You could make the most beautiful film, and that weekend it's raining too hard on the East Coast, and no one goes out. Artists should have a chance to do it again. That's the challenge: Women artists don't get a second chance. People-of-color artists don't get a second chance. You're put in director's jail, and that's a wrap.
My dad is an art director for BBC TV shows, and my mum does screen printing workshops. Both of my parents played instruments, too, and my mum used to have crazy house parties when me and my brother were young - dub and garage would be banging through my house.
Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.
I look forward to working with Ken Olin, whose work as an actor and director I have always admired.
