I like directors who come on the set and create something that's a little dangerous, difficult or unusual.
An appreciable number of directors have shifted to lower-cost films, allowing them to be satisfied with a more modest return.
I've said this before, but after 'That '70s Show' ended, I solely wanted do films that inspire me, and to work with people who make me better. I wanted to just surround myself with people who I think are better than I am, whether they're actors or directors or producers, so that I could learn from them.
There are loads of kids out there who haven't got a clue what 'Men Behaving Badly' was; it was such a long time ago. So I'm able to spread my wings a little bit more. I was able to do it on stage over the years. Most directors and producers don't know who I am these days, anyway!
A lot of TV is put together by teams, by writing staffs and several different directors. It's a great, very smart way to make television. It's worked for however long TV's been around.
The most nurturing of directors can make you feel too comfortable, and you don't really push for that extra whatever.
I don't like directors that just say, Stand there and now do this.
Everyone talks about reality TV and that there are no roles left. That's false. Years ago, there were three networks. Now there are 20 cable networks and so many ways for films to be exhibited. It's an exciting time for actors, writers, directors, and producers.
Boyapati is one of the few directors who can pull off a masala film like 'Sarrainodu'.
The directors thought, They understand nothing in the real economy, in real life. They read some stupid books, and they came from the moon to the earth, and maybe in one month they will disappear.
I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
They offered me that film before I did Frida and I said, no, I'm not capable of directing. Then after seeing Julie direct, I was inspired by it. She motivated me to do it, because we don't have role models as woman for directors.
I think directors should be confident in their leadership capabilities. I think directors should be confident in what they want to do.
One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.
Even when they have a star that they're going after, casting directors love, if anything, just the excuse to see people. They like to have a dugout full of actors that they can go to.
I really just want to work with good directors and learn as much as I possibly can.
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
I've worked with Steven Spielberg three times. I'm proud to say that I'm one of those actors that continues to get hired by the same directors.
I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.
Everything is entertainment; criticism is now entertainment and it seems that the French directors have woken up one day and suddenly realised that they were not backed up any more.
And I just want to work with good directors and good people.
Many of the museum directors who make an impact personally curate exhibitions.
I felt that if there wasn't going to be a good opportunity, then I would just go back to second units which I love, keep working with great directors, keep learning and knowing that the opportunity would come when the time was right.
I've worked with some incredibly difficult directors but my understanding is that a lot of the best people are driven from a place of being extremely challenging and dark within their way.
I knew at the time that that wasn't the part I would be doing, they just wanted a screentest so they could have a look at it to show to the directors and producers. Then they wrote a part for me or maybe they already had it in mind, I don't know.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.
Yeah, I've worked with a couple of female directors, now, and I think that they're amazing. As good or better than guy directors.
I loved making 'The Hunger Games' - it was the happiest experience of my professional life. Lionsgate was supportive of me in a manner that few directors ever experience in a franchise: they empowered me to make the film I wanted to make and backed the movie in a way that requires no explanation beyond the remarkable results.
I had some things I had to fix. It took me 14 years to do it. But it was never really fun back in the day to work with directors who were a lot older and were like authoritarian and talking to you like that.
I feel terrible for directors of TV because all the episodes have to look the same. They make a great series for five or six years, and then when it's canceled, they can't break out on their own.
Some directors cast you because they trust you to do the performance - but then they forget to direct you.
I remember feeling that Michael was extremely sensitive when it came to that moment. Most directors are and they usually rely, at least in my experience, on the actress to take over. And Michael is a gentleman.
I would love to experiment with roles. But when people say that we are not doing anything different, it is because directors do not approach us with diverse roles.
We're long past having to defend or explain why women should be on boards, given all the data that shows how companies with female as well as male directors perform better. It's unfortunate when companies with a large percentage of women constituents don't reflect that in their boardrooms.
I don't think I can speak of the achievements of Indian cinema because it's so large next to me. It's not stopping. It's ever-growing. We are going towards the right direction. We are evolving as a filmmaking industry as actors, directors, producers, singers, musicians. Everybody just pushing the boundaries.
