It's not like every director in every movie is seeking me out by any means, there are a lot of things I'm not suited for, a lot of things I'm not interested in, and a lot of things that directors wouldn't be interested in me for.
There are a few directors as a young person where I was kind of like, 'Well, these are a sure bet.' The Coens, Paul Thomas Anderson, Wes Anderson.
Some of us are interested in directors, but really the vast majority of us are interested in actors. You experience the films through the actors, so they're all locked into your imagination in some kind of layer of fantasy or hatred or wherever they settle into your imagination.
I don't like actors who try to talk directors into making their part bigger and that's really lame.
I always want to do something I haven't done before and get to work with other actors, writers, or directors that I want to work with.
Yeah, I mean the material, directors, the other cast, and if you think you can do something with the character then you do it and go from there. I am looking forward to doing some smaller movies.
I guess I like a lot of directors. Or at least I try to.
I have zero tolerance for people who don't come completely prepared. I expect contribution, I expect attendance, and I expect directors to take trips and visit the company's programs.
I've run into some S.O.B. directors, but I gave them back as good as I got.
I went without health insurance until 'Roger & Me,' basically - from about age 20 till about age 35. With 'Roger & Me,' I joined the Directors Guild and the Writers Guild, and since then I've had excellent health care managed by the union.
I want more girls to be able to see themselves behind the camera creating images we all enjoy, and I want to call attention to the fact that women directors are here all over the world.
I think Anand Rai is one of the few brilliant directors we have.
Continental directors, as opposed to British and American, tend to be somewhat high-handed in their approach.
A lot of directors will do a certain amount of storyboarding and pre-vis, and yet when they get on the set, everything starts to change, and they have new ideas.
Some directors expect you to do everything; write, be producer, psychiatrist. Some just want you to die in a tragic accident during the shooting so they can get the insurance.
When I came out here, my manager thought that casting directors might think I'm a girl, and when I did Threat Matrix, they thought Jamie was a little light.
I want to work with great directors. I want to work on good material with good actors. I've probably done 20 movies at this point and a lot of independents. It's been an incredible ride and I love it and I'm just going to keep going and doing what I'm doing.
A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.
I'm proud of the fact that I've taken a lot of big directors, such as Trevor Nunn and Nick Hytner, who were musical virgins, and introduced them to the form.
Producers and directors think they have the power, but what they think of as the weakest link, the actor, is all-powerful.
There are a few directors around who I have some excitement about spending my $7 at the theatre watching their movies.
I'm attracted to directors in general because I appreciate the work and the job they have to do. I watched the post-production, I watched the pre-production... post-production is something that I'm very interested in and I did spend a lot of time in editing rooms when I was young pretending to be sick.
Having been a child actor, I remember how directors would trick me to get good performances out of me. I don't think you need to do that.
It takes great skill to tell a compelling story in under 60 seconds. These five directors have mastered the format, using their talent, craft and imagination to provide us with some of the most innovative filmmaking out there today.
I don't know how to put it, but I don't have many friends. All my friends circle was in Madras, and I lost touch with them. But I'm friends with all my directors, and they are very important for me.
What I always meant by that was that I do believe that a lot of directors, and writers, and sometimes producers just lose their edge because they haven't seen anybody or talked to anybody or been with anybody who isn't a kind of replica of themselves for a long period of time.
I've now been doing this for ten years, and I actually got to skip a stage of going to casting directors, and now I meet with the directors, either for lunch or an audition room, and I still read sides; you're never going to get around that, but I'm not the best person to go on an audition.
I am not here to beat anyone. I am here to make a name for myself, and I am glad to work with great directors. I don't believe in the term 'next superstar.'
I'm only wanted by directors for the image I give off, and it makes me angry. I always wanted to be an actor and not a beauty pageant winner.
Most of my friends are assistant directors.
Sometimes, I feel like directors look at me and say, 'I want to put that boy in the jungle. I want to hurt him.'
When actors give their input, it can be very ego-driven, and directors are scared of that.
There aren't many American directors here trying to direct a Japanese yakuza film. When you combine that with the fact that I don't speak much Japanese and this was an independent film I was financing myself - people were curious about what I was doing.
I always wanted to make a 'James Bond' film, and they only seemed to hire British directors, and I'd made 'Swingers' - they were never going to hire me for a 'James Bond' film off 'Swingers.'
There's a lot of other movies I like, but I don't even pay attention to directors to tell you the truth.
I loved doing all those costume dramas. I didn't think, 'Ooh I've got to avoid being typecast' - you can't ever be dictated to by what other people think. I just do things because I fancy the parts and the directors.
