I'm a student. I want to do better, and I want directors who can find the actress in me and be my teachers. I'm interested in the whole process of editing, post-production and direction.
Wong Kar-wai and Ang Lee are two Asian directors I'm really fond of.
Directors are the captains of the ship, and it's your job as the lead actor to make sure that the rest of the cast understand that by doing whatever he says.
I'm new to this TV thing, at least as an actor. It's a challenge. The thing I have to adjust to is the changing directors every week. That's new for me. I tend to establish with a director - and then two days later, he's gone.
I don't know what it is, exactly, but there's a negative drag on film sets after the second week or so, a mutinous vibe because the infinite capacities of the directors and everybody else become quite finite and everybody's under the gun and it becomes work.
I think audiences, producers and directors included, develop crushes on actors (actresses in particular) and then lose interest and move on to the next one.
I have worked with some very great directors.
I decide intuitively what I want to do. When directors like Imtiaz Ali, Ayan Mukerji, Anurag Basu and Anurag Kashyap, who have stories to tell, come to me, why would I not be a part of it?
Directors, producers can make you look good or make you look bad.
You know, the dirty secret in the Director's Guild is that the average life expectancy of Director's Guild members is 57 years old. The stress level is so high and directors are generally really out of shape, cause they sit in the chair and they eat craft service.
I've figured out what to do so far, but it's always the next thing you come to where the man with the bucket of ice cold water is waiting - whoosh! in your face. That's why you work with directors who know what to tell you to do.
In his very first film, Mr. Gonzalez Inarritu makes the kind of journey some directors don't - or can't - travel in an entire career.
On a lot of shows that I've done, we had the same directors, which was cool. But then, it's also great to do shows where the director changes every week, because you get to see all these different personalities and see what you like dealing with better, as an actor.
You need the words, you need the script, you need the material, you need the commitment, you need the passion, it's like we depend on writers, we depend on producers, directors depend on us and once things are in the divine order as they happen.
I love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.
I have great respect for directors who know what they're doing.
A lot of directors don't want the pressure of a movie the size of Pearl Harbor. But I love it. I thrive on it.
It's important to see how people see your work and how they feel about it. I know a lot of directors who are like, 'I never read reviews,' and I'm like, 'Yeah I can tell.'
I like directors who have worked as actors. They know the experience.
I was never a villain on the stage. I always played strong, sympathetic types. My first stage role with a speaking part, believe it or not, was as a priest. It wasn't until I began acting in films that the producers and directors saw me primarily as a bizarre villain.
My favorite movies are from directors that have a vision, like Wes Anderson or Tim Burton.
I've never been conscious of having any real career plan, and I do not have a wish-list of actors, directors, screenwriters, or cameramen I'm hoping to work with. Life, I feel, has a way of leading us to the right situations and people, or at least to interesting ones.
Television is certainly a writers-led medium. They're the ones who are there, they're the ones that are conferencing or whatever, with directors coming and going.
I want to work with great directors and try not to put too much pressure on myself and just read things for the story and recognize when I'm drawn to something for the right reasons and try to maintain some sanity.
A lot of directors are overbearing and tend to make you doubt your instincts.
Directors only have instinct to work out of, because there is no formula. Formulas don't work. Actually, if you follow a formula, you will probably end up with a bad movie.
A lot of directors are great and they are fine but you know I think that Harry really takes a special point to really engage the actors and really make it feel like a safe place for them to explore whatever it is they want to explore in whatever scene with their character.
Tony Scott was one of the best directors I've ever worked with, and I was devastated when I heard about his death. He was a great guy with great energy. But this is a difficult business, and people's lives are sometimes difficult.
I love my lifestyle now, but at the end of nine months, you're toast. You are toast. It's like running a marathon. You can't think while you're doing it. Especially when different directors come in who are not part of the posse, the circle.
F. Gary Gray, I think, is one of the best directors I've ever worked with in my life, and I'd love to work with him again.
Yeah, I mean I've definitely had a bunch of action scripts sent to me, but again I'm a stickler for directors. If it's like an action flick with a great director then it's like 'Oh let's look at this thing,' but if it's just like a shoot-em'-up with a first time director. I don't know if that's the trajectory I want to take with what I'm doing.
We all like indie directors - heck, I even married one... but we're divorced now.
Yes, there are directors I admire, the mavericks. Altman. There are many good directors.
I wanted to trust in my partners and the directors and producers and do the best I can to deliver what I could deliver.
If you were in the film industry at that time, you were always picked up by directors who were much older. You were whisked about and shown things. I did work very hard though.
With Kubrick and most film directors, they are in complete control, but one can influence them.
