I never made the movies for the critics; I've done the best I could with the material and the directors and the actors I had. But the thing that's really exciting is that once I do that one project that's different, that stands out, everyone's gonna be watching.
I worked with many directors in my life, but Tim Miller is definitely my favorite. He not only has a beautiful sense of directing actors, but he also shares a great love and passion for the comic book world, as I do.
All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.
Sometimes the directors were afraid of what they brought out of me.
I would love to see more women directors because they represent half of the population - and gave birth to the whole world. Without them writing and being directors, the rest of us are not going to know the whole story.
Directors get to fire on many more cylinders than an actor.
I am bowled over by the massive number of remarkable people who face down the fact that no, they are not going to be film directors, famous artists, or billionaire entrepreneurs and still come out the other side as cheerful, decent, gracious human beings.
With TV, the pace is so fast, the scripts are coming at you, the directors are firing things at you, it's breathtaking.
By 1961, when I got my first copywriting job, 'my kind' were suddenly in demand. The creative revolution had begun. Advertising had turned into a business dominated by young, funny, Jewish copywriters and tough, sometimes violent, Greek and Italian art directors.
I'm on a crusade to get movie directors to get their science right because, more often than they believe, the science is more extraordinary than anything they can invent.
Actors rarely stay in touch with directors after they've filmed together. We go back to real life.
Cukor is one of my favorite directors. He was a master at directing women.
I'm lucky enough that directors sometimes seek me out for little projects that people don't even know about, that just surface later on.
But on this show, it's a good question because in the 35 shows that we've done now, I've really made a consistent effort to really shadow the directors because in many ways they have to be more prepared than feature directors.
All the directors that I've had the opportunity to work with are fantastic.
There are still so few female directors. There are far fewer writers than we'd like to see.
I think it's easy for directors to stay fresh more than actors, especially once an actor becomes a star. It's hard for Russell Crowe to walk down a street or take a subway. I can fly coach.
A lot of these roles that I feel like I've had some sort of impact, or that have had an effect on me, have always been with directors who have the time to somehow get to know me. Any good director's going to be curious about who it is that's coming aboard.
Some people are directors and I think they should stay behind the camera.
I get along great with directors, but I think some producers would tell you I'm a pain. They may say I'm tough to work with, but I have a great passion for what I do. I believe in fighting for it.
It's tough as an artist to have such a specific vision for your video in mind when you write a song. Reaching out to directors is like going on blind dates and trying to find someone who sees the exact vision behind your music, which can be really difficult.
I do like to work with young directors because it's such a difficult business that I think after directors have been around a while sometimes, not always, but sometimes their passion gets siphoned off because they get hurt.
Directors never give you anything.
David Fincher is one of the best directors I know, so I'm really curious to see it. Really curious, and I want to hear Daniel have the Swedish accent.
You see Mexican cinema in festivals throughout the world, and you see Mexican directors getting recognized at Cannes, at the Oscars, in Berlin, but the question is, What is the end result of that in terms of the market? That's where it's lacking.
I've worked with some very good directors and some very bad ones. I learned a great deal from both. From the bad, untalented people, you learn what not to do. And when you work with very highly talented people, you want to emulate them.
I kind of have an interest in all history. And I suspect it comes from being Irish - we like stories, we like telling stories, which makes a lot of us lean towards being writers or actors or directors.
That is the great pleasure of working with great directors. You get to look at the world through many different prisms. I guess I love talent, whatever form it takes.
My education - my Ph.D. in storytelling - comes from having worked on it, being a lover of film and watching them, from working with some great writers and some very good TV directors and then working with some who weren't.
A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.
Honestly, I think most directors are about, 'Let's do the most fun and effective thing here and figure out how afterwards.'
There are some moments where you're so depressed, you cannot see the way, and you're like, 'Whatever. Bite me.' I think all directors feel that way sometimes.
Gotta watch out for directors.
Get more women producers, writers, directors. Why should we expect men to do it for us? They can't.
A lot of the films now are more focused on the visuals than on the actors. I think all directors should go to drama school.
So, we come out to Los Angeles. And we met with every network. We met with show runners, directors, writers, everything. And what we had an idea for, they didn't like. And what they had an idea for, we didn't like. So, we went home.
