I want to act, I want to write, and I need to follow good directors.
A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being.
Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.
I'm on the board of directors for Peace Now, which works tirelessly between the Palestinians and the Israelis to create peace in the Middle East and we've never been closer.
My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.
So, yes, there's nothing I love more than listening to directors talk about their movies.
I love rehearsing, but a lot of directors don't, and some actors don't.
The only other things, and again these things are hearsay, is that he could be pretty rough on directors, because he knew exactly the way he wanted to play the part. And he did so.
Most of the time nothing much is required of directors, which is a pity.
I think theatre helped, only because it was acting experience. I got to work with a lot of directors.
By the time May rolls around, I'm probably going to want to spend a month on an island. But if Steven Spielberg or Steven Soderbergh or any number of directors were to say 'Hey, there's this role, are you interested?' I'd be there in a flash.
A lot of directors say, 'Do whatever you want, and I'll just change it on set.' But I love being involved in every part of production. It's very exciting. It's like an empire of creation: Everybody is working so hard to respect a vision and an idea, and it's very weird and inspiring at the same time.
When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like you're in the way.
Norwegian kids, they grow up well educated in film. So they have a lot of good directors there.
I can say yes to some directors without even reading a script. But the first-time directors I've worked with, the scripts have not been perfect, but they had something that I liked.
We make a contract within ourselves as actors or directors or writers about how much of ourselves we let into projects. You can actually figure out before you work on something how much blood you will have to let emotionally.
A lot of really good directors have a killer in them, as if they'd do anything to get that image. But that comes with the terrain and I don't mind it.
I think we've shot scenes from every angle directors can think of to make it look like different villages. I've directed a couple shows on that set and believe me, it's impossible not to duplicate some camera angles.
You can't reinvent the wheel. I remember when we first started out at 'Late Night,' we were trying to hire directors, and this guy was like, 'I see you behind a glass desk.' I don't. And he's like, 'Yeah, the glass desk.' I go, 'I don't really see me as a glass desk guy.'
All directors are storytellers, so the motivation was to tell the story I wanted to tell. That's what I love.
You spend enough time on set as an actor and it's great when a director was at some point an actor or understands acting. They're able to finesse performances out of you that a lot directors can't get.
There are only so many hilarious actors so when they cross-pollinate, people assume it's always the same actors and directors.
I had to endure the worst time of all in terms of racial discrimination in Hollywood when I first started out. It was inconcievable to American directors and producers that a Mexican woman could have a lead role.
Directors who turn into big babies and shut out criticism stop learning.
I want all my films to look distinctly different, like some other directors I admire. But in a way, I can't really take myself completely out of the movies I make.
I should mention that I am a member of the board of directors of Dimensional Fund Advisors.
More people are asking me to come and sing for them, so obviously I am getting more work. But apart from singing, I have been parallely programming and producing music tracks and assisting music directors. That is my bread and butter, which is how I survived in Mumbai. Now I can't leave it.
To be honest, more than what I prepare, it's the directors who do the bulk of the work, researching, collecting data and all that. I like to see myself as a processor: they feed me with the data, I give the output.
One reason I left local news was that I was tired of the constant musical chairs among news directors.
John Carpenter created the idea of Halloween, so his vision remains the most focused and intelligently directed of the series. The directors that have followed have kept the original intent of the concept.
I think it seems to be when I'm trusted, and someone just lets me have free rein - 'Do what you want, man' - that kind of confidence that directors instil in me always gets my best stuff out.
I worked on three independent movies in close succession and... I really learned from those directors how to stay on budget, make your days, get it done, keep everyone happy, which is a huge thing in a movie, and to steer the ship.
I love so many directors. I love David O. Russell. I love David Fincher, I love Alexander Payne and Jane Campion and my aunt. Spike Jonze. There are just so many amazing directors.
I've always thought that as long as directors and casting directors don't see me as just Harry Potter, I'll be OK. People have shown a lot of faith in me, and I owe them a huge debt. They're letting me prove that I'm serious about this.
All my life, I've been working with male directors, which I've really enjoyed. And I'm lucky in that I've worked with men who have a lot of respect for women. But working with a woman is a different experience. It feels like the communication is different.
I've been lucky to get some path-breaking films, which proved to be the turning point in my career. Be it 'Rock on!' 'The Last Lear' or 'Raajneeti,' directors started working in a different way.