I don't go to a lot of other directors' sets; directors don't come to mine. Directors are all very cordial with each other, but they're not necessarily friendly.
Look, a lot of directors were actors, even if they were unsuccessful actors which I think is helpful. I think it's a really helpful thing for a director to have experienced that. It helps you know how to talk to actors and how to get what you need from them.
It's a strange business, and unfortunately, what we do in animation is a mystery, especially the directors.
Producers are men who will keep their heads in the noisy presence of writers and directors and not be carried away by art in any of its subversive guises. Their task is to guard against the unusual. They are the trusted loyalists of cliche.
I love movie directors. I don't care who it is.
Chekhov directors and Chekhov actors love working on his plays because there seems to be no end to what you can find out about the micro-narrative when you're investigating a text.
I read every screenplay that was being sent to the other directors. None were being sent to me, but I was reading what others were choosing and what the best writers were writing.
I talk to all the creative directors today, and they take me aside, and they say, 'You know, it must have been great back in those days when you could do anything you wanted.' I say, 'Huh? Excuse me?' I mean, we fought. In the '60s and '70s, you fought wars with clients, and you have to continue fighting wars to do great work.
There were many, many other 'Django' films following mine, with other actors and directors, but there is only one 'Django.'
I worked with some directors, and it was really collaborative, and I was sort of writing with them. I was giving so many pieces of myself to their movies, I thought, 'It's about time I use my own voice for me, and establish my own voice.' So I knew I wanted to make films.
I will not ever say that it's good to start with too little preparation, because that's patently not true. But I don't rehearse the way a lot of directors do, to stage a scene in terms of manners and attitudes and lock them in.
Hmm, can I be obvious and say there is probably a double standard for male vs. female directors? Sadly, I think that's actually the case. And it probably stems from the fact that there are proportionately so many fewer women directors than men ones that each project is perhaps more closely scrutinized for its content.
It remains an incredible struggle for women in theater, and, in particular, playwrights and directors, to get their work seen and to not only get seen, but to get it to Broadway.
I like working with new and young directors.
I love westerns. John Ford is one of the 10 best directors.
I'm very thankful to directors and filmmakers who consider me in their films, and I hope I'm able to do justice to their films.
I spent most of my time as an actor in television, so directors in television - it's such a machine that's already in place that I don't think you notice the direction as much on the set.
I think the perspective that small-town directors bring to films is very different.
I don't know what to expect out of my films. My first two films were with extremely talented directors, and they didn't work. And my next two films were with newcomers, and they worked well. So I've stopped expecting anything from my movies.
Our job as directors is to really give the audience a sense that all this exists in a universe somewhere. Even if it's a slightly more stylized or comedic world than we live in, it's still really important that it has an authenticity and integrity to it.
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.
I just feel like I am a really lucky guy who these talented directors have found places for me. I feel honored and blessed.
What worries me are these so-called radio stations with program directors who don't play all the different flavors of hip-hop. They should play the old with the new, 24/7, 365 days a year. A lot of these program directors are just jiving around and not playing all the good music for the people.
Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.
My ambition has always been to work with English and American actors and directors. Those were the movies that I was watching when I was growing up.
Deep down, all directors feel like frauds - because it's built into the nature of the job. You're the jack of all trades and the master of none. The cameraman knows the camera, the sound man knows the sound equipment - and you? You can't do anything: You can't do the acting, you can't dress the set, you don't record the sound or shoot the images.
It's sad - it's sad for us old enough to remember when directors ruled, and films were substantially better than they are today. But it's hard to argue with those kinds of grosses.
I love producing. My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I'd like to build something to that effect.
So many directors say nothing beautifully, and so many others say great and profound things but have no idea how to read a light meter or arrange a shot.
Back when I was looking for my next step and was researching Gannett, I was interested in who was leading the various businesses within the organization: Are there a lot of women and minorities in important, operational roles, senior management and the board of directors?
I've really enjoyed my work in television, but the problem for me is the turnover of directors every week.
I prefer to work with first-time directors.
I'm not the kind of actress who asks a lot of questions of my directors unless it's something I really need to know.
There are always leading characters. There are always complex characters; there are very rewarding plays with great directors and tremendous playwrights, yeah. I've done a lot of things with theater that I'm very, very proud of.
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.
As an actor, you can go in, and you give your best performance, but if you hand that performance to ten different directors and ten different editors, you get ten different movies.
