Zhang Yimou is one of the best directors on mainland China.
One nice thing about being a woman in Hollywood is that the women tend to be very close-knit. All of us writers and directors know each other and cling to each other for safety and support, and it's really a completely different vibe than the men experience out here, where they're all trying to murder each other.
Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.
I have found that so many directors and producers in the room say nothing, and this can be deadly. It's very difficult to audition for comedy in the vacuum of a small room, but it's the only way most do it.
In Hong Kong, the directors are the idea men.
When I decided I wanted to be an actor, I said I wanted to work with quality actors and directors.
I rely upon the directors to fill me in before a shot.
There are not many A-list directors who get to make the movies they want to make. I know two: Woody Allen and Tim Burton. Two different textures, but both get to do what they want, and that's rare.
It's really rare for film directors to be that interested in things other than themselves.
The parameters are such that I don't get offered a lot of work. I'm sure most directors hear my list of don'ts and say forget it.
I don't feel that I was often compartmentalized as an African-American actor, yet I am fully aware of the plight that actors, directors and producers of color face in our industry. I choose to focus on being proactive in creating opportunities for myself and others while acknowledging that we are not playing on a level playing field.
No two directors make the same film the same way.
I had just had small parts in other films, and I'd worked with a lot of directors in TV.
I don't believe that all actors should end up being directors.
I still think that movies are amazing; I respect actors and directors.
And when I have lived elsewhere, every two weeks I have to fly back to LA. Even New York directors go there to audition. So I have to be there to a degree.
I think Star Trek has been very double-edged for all of us - as actors, writers, directors.
Bad directors will tell you they absolutely know how to do it, and how it has to happen; there's this insecurity that leads them to feeling like they have to control everything.
I can confidently say that I am comfortable with all the directors, co-star and producers with whom I have worked; there have been absolutely no tensions.
I think every director has a different take, some are good, some are bad. The directors you get on best with sometimes don't make the best films, so who's to say who is right.
Some very famous directors have started in the mail room, which is just getting inside the studio, getting to know people, getting to know the routine.
When you have the cast, the sets, the lights, an opera takes on its own life. I'm not one of those directors who marches in with a set of plans.
I happen to have worked with male directors who don't understand women at all. Not at all. I'm flabbergasted by their ignorance.
Richard Donner is one of the few directors in Hollywood that can make whatever movie he wants exactly the way he wants it. No one will stop him.
Directors have to push me. I have to be pushed up. Not all the time, but often.
I grew up in Texas City, Texas. I didn't know anybody who was a director or whose parents or grandparents were directors. I met somebody from a nearby town one time whose father had been to the moon - it was far more likely to be an astronaut than it was to be a writer or a director.
Sundance is the only hand that feeds for women directors.
Speech within the kingdom of Amazonia - run by its sovereign Jeff Bezos and his board of directors with help from the wise counsel and judgment of the company's executives - is not protected in the same way that speech is constitutionally protected in America's public spaces.
I am lucky, that is all. Lucky because there are a lot of people - producers, directors, people who buy tickets - who put confidence in me.
Now, therefore, the Directors of the company are hereby ordered to see that precautions are taken to make travel on said railroad perfectly safe by using a screw with at least twenty-four inches diameter.
The cinema I particularly love is the cinema of the golden age of the studios in the 1930s. One of the really nice things about it was the way teams of actors and directors and crew people worked together again and again.
There are so many directors, young and old, around - all doing their thing and struggling.
I watched a couple of really bad directors work, and I saw how they completely botched it up and missed the visual opportunities of the scene when we had put things in front of them as opportunities. Set pieces, props and so on.
Talent has no gender. People are hiring young male directors right out of film school, off of a student film or off of a film at Sundance for millions of dollars. You can do the same with a female. It's not a risk about the work if you respect the film that they made.
Working on 'The War Room' was a thrill, not only because we were given such exquisite access to the nerve center of Bill Clinton's first presidential campaign, but for me personally, it was so exciting to be producing my first film and working with documentary filmmaking legends D.A. Pannebaker and Chris Hegedus, who were the film's directors.
I often meet young directors who, you know, had a 'Ghostbusters' picture on their wall as they were growing up. And it's really nice. It just shows how inter-generational our industry is.
