Zitat des Tages über Direktoren / Directors:
Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.
I love America. I eagerly became a citizen. I have no bitterness toward those casting directors who dismissed me because of my accent, nor toward the producers and directors who wanted to cast me but thought the audience wouldn't accept my accent. I think they're selling their audience short.
But if one could go back in time, I'd love to have been directed by Howard Hawks, who's one of my great heroes. One of the greatest directors there ever was. He directed probably one of the greatest westerns of all time in 'Rio Bravo'.
But it's cool working with female directors because I'm a girl, so you do relate to them more. You can talk to them about other stuff like clothes and all that.
If you work in casting, it's sort of not cool to want to act. A lot of people think that casting directors are frustrated actors, but it wasn't true with any of the casting people I knew.
Aditya Chopra is my mentor and one of my favorite directors.
Most of the film directors expect their actors to want to work fast.
I went to meet Joe Johnston, the director, and he's charming. I've been very lucky. Most of the directors I've worked with are charming. But Joe's a particularly charming man, and he showed me lots of designs and, rather memorably, welcomed me to the Marvel Universe.
The idea that American producers and directors are choosing black British talent to save themselves a buck or two is ridiculous - it's because we're damn good.
People look down on it, but I love the community of horror. Writers and directors are a tight group of people, and we help and support each other.
I'm definitely one of those actresses who comes to a set knowing how I want to do a scene, and I definitely love input from my directors and my writers. I know that there's some actors who like to be left alone, they like to be very independent, but I actually really enjoy the teamwork.
I'm very proud of 'The Words' and all the cast. I think Lee Sternthal and Brian Klugman are like new directors, and I really believe in them, and they're gonna rock everything.
Film directors don't come to the theatre in Sydney. In London and New York, they do.
There are lots of good directors I would like to work with; I want to be inspired and challenged by them.
I never thought I was doing the same thing as directors like John Carpenter, George Romero, and sometimes even Hitchcock, even though I've been sometimes compared to those other guys. We're after different game.
In N.Y.C., I auditioned for mostly 'quirky friend' roles. Since casting directors in L.A. lacked a preconceived notion of me, I was able to reinvent my type a bit, which was essential in booking the role of Amanda on 'Ugly Betty.' I don't believe I would have auditioned for that role in N.Y.
When I think back on it, of course I got lucky and got great directors and good breaks but all that was the physical part. But what made me a star was that I could take a chance and not have anything to worry about in terms of losing.
I've liked all the directors I've worked with a lot. And the ones I like best are the ones that have really good taste about what take was best.
We did Holy Grail, and I got my name up there as one of the directors. After that, I started moving more and more down the line I wanted to, which was making movies.
I had many, many mentors that I worked with. Music teachers, choir directors, directors in summer stock or in regional theater. You know, people I was able to work with repeatedly and learn from who were really sort of appropriate people for me to work with at a given time in my development as an actor.
There are cliques in Bollywood, and people stick together, but I have always tried to stick to my work. As an industry, Bollywood is very competitive, and I'm very competitive as a person, but I've never been a part of any clique, and I've always worked with all actors and directors, all camps.
Directors tend to kind of let me do what I want to do.
Reviewers are certainly entitled to their own opinions. I've become buddies with enough writers and directors, and to be perfectly honest, the ones that have lasted a long time don't pay a lot of attention to the reviews.
I've worked with a lot of great directors.
I deal with guys in their 20s and early 30s who are presidents of companies, who are movie directors.
Actually I'd had a certain amount of experience in Europe in the inter-war period, as a banker, and I was also a member of the Board of Directors of the International Chamber of Commerce.
I also get fed up with the fact that casting agents and directors have this impression of me as being frail and petite. I find it very patronizing. I'm quite beefy and strong. I was a gymnast in school and I have lots of muscles.
I was on 'The O.C.' and had a small part, which wasn't very challenging. I was a bit bored, so I started shadowing directors and they finally gave me a shot. From there, it led to directing other television shows. I am trying to direct a feature film, so we'll see what happens.
As an actor we're just like workers in a factory, we provide our services to directors.
Every time I make American film I just trust American directors and American writers.
I've watched directors since my very first day of acting because I knew I wanted to direct.
I feel like actors, having spent a lot of time on movie sets, tend to make decent directors, because they've been there, they know what they're doing, they've seen it done right, they've seen it done wrong, and they feel comfortable. There's not a lot of chin-scratching and wondering what your next move is.
I have worked with some great directors.
I admire directors so much, I find them incredible: they manage such a huge number of people of different characters, think of the money involved.
Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.
It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.