I feed off variety. I don't want to repeat myself if I can help it, but once they've seen you doing one thing, directors often just want you to do it again.
Increasingly, there's much better material on television, but there's not always the time and money to make it, so you've got to make sure you make it in the right place. It also depends on time commitment; a lot of directors will make a pilot, but a series is just a whole other level of involvement.
Malayalam industry is pretty awesome, and I will definitely do a movie in Malayalam. There are some great directors over there.
A lot of these people, these program directors, just like anybody else in the world, even though they're supposed to be leaders in the world, they're followers. They follow what they think someone else is doing, instead of trying to blaze a trail.
I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.
Actually, I met a lot of directors and most of them have that fantasy to make a silent movie because for directors it's the purest way to tell a story. It's about creating images that tell a story and you don't need dialogue for that.
It was a movement that had all the art critics, all the museum directors in its thrall.
As somebody who makes his living in the movie business and wants to contribute to it, I think that the best chance I have of doing that is just consistently working with great directors.
Only directors like Sanjay Leela Bhansali, who make period films, have songs in their movies that facilitate the inclusion of classical dance forms. No one else is concentrating on making pure classical numbers.
I'm very interested in directing actors - many directors direct cameras.
I don't think about the gender thing very much. But when I speak at schools, I've had female students say to me afterwards, "I never envisioned myself being a director, since I've never seen women do it." But after seeing me, they can picture themselves directing, so maybe we'll see more female directors.
I was very excited to do 'The Witches.' It was with one of my favorite directors, Nick Roeg, and I loved his work from 'Don't Look Now' and 'Eureka.' So I was very excited to work with him. The story was a very subversive fairy tale by Roald Dahl, and a fantastic part.
'Skins' had been a brilliant breeding ground for young actors, young directors and young writers. It was a safe environment to experiment; it tried new things, and it was an amazing time and amazing to be part of it.
I would say that maybe directors who act as well are easier with actors. I'm not saying that all directors have this, but sometimes you'll come across a director who sort of looks at an actor a bit like a kind of untrained horse that's been let out of the stable, like they might buck him.
There are plenty of bad actors and there are plenty of bad directors. There are actors who will always be bad and there are good actors who you cry for because they're being badly directed or the material isn't good enough.
Movies, I don't really get the bad guys. In theater, I get more bad guys. Both audiences and directors are more willing... to allow people to stretch. In movies, you do one thing, and then that's their reference.
Everything I've ever written, I had a very distinct vision of what I wanted it to look like. But, other directors never do it that way.
Where else do you find great directors? Acting is one of the places.
I've been incredibly lucky with the directors I've worked with.
When I first started acting in movies - as probably a lot of naive young actors do - I made a list of directors that I wanted to work with and sent it to my agent at the time.
Having an investor on your board of directors who is naive about public markets or finds them complex or scary is non-optimal.
One of the first things that I did was, I got myself a publicist as soon as 'Maria Full of Grace' premiered in July, so that I could go and meet people that I wanted to meet: the writers and the directors and the people that are doing things.
Louis Malle is maybe one of my favorite directors, but I love Tarantino.
In the acting game, you spend a long time fighting against what the director perceives you to be. And half the time the directors don't know.
You know, it's kind of a shame in a way but the more seasoned directors a lot of times have more difficult getting a job than first time guys. New kid on the block kind of thing.
There are thousands of directors in Hollywood.
I had worked for a lot of directors whose work I didn't respect, and as I was editing material, I was thinking about how I would have shot the scenes and what I would have done to make the scenes better. After several years of that, I got to the point that I was pretty confident I could sit in the director's chair.
I would love to just keep working with really great directors who really inspire me.
There are lots of actors who insist on speaking the lines themselves, and you hear the same thing from directors and the audience, but I don't think it's worth getting het up about. I think it makes more sense to use someone who speaks that country's language: that's what voice actors are for.
Stephen Daldry would be a director that I would love to work with as well as Peter Jackson, Tim Burton, and I'm very lucky to have worked with Isabel Coixet, who is also one of my favourite directors.
I like working with south Indian directors because they are very disciplined. They visualize their entire story and screenplay in their heads even before they start shooting, which I respect. They finish their work on time. Being a disciplinarian myself, this suits my style.
I think I've always wanted to direct, but I didn't go to film school. I was lucky enough to work in movies, and I think those became my film school in terms of acting and watching directors work and also writing and co-writing and producing.
I've worked with a lot of first time directors; in fact, I enjoy it because there is a certain beginner's mind that they bring into a project that isn't loaded with the way things have been done before. There's a certain freedom to it.
I'm not put off so much by first-time directors if the script is great. If the script isn't there, I'm not there.
The popular image that Hollywood is ruined by difficult prima donna actors is nonsense. They're certainly very nice to directors. I can't say the same about producers, who I found difficult, paranoid, and certifiably insane, mostly.
When I started doing advertisements, I really enjoyed the whole process of shooting, and I realised that I could do the little bit of acting required quite easily. My directors also told me that I have a flair for acting and that I should polish it and try for films. Then I thought I probably had it in me - why not give it a shot?
