I always wanted to create a site that was sports and pop culture. ’30 for 30′ had a big impact because I loved how that was about finding, empowering and working with these incredible directors, and I thought the same thing could work for writers.
My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I’d like to build something to that effect.
When I decided I wanted to be an actor, I said I wanted to work with quality actors and directors.
There are lots of actors who insist on speaking the lines themselves, and you hear the same thing from directors and the audience, but I don’t think it’s worth getting het up about. I think it makes more sense to use someone who speaks that country’s language: that’s what voice actors are for.
I dread to be compared to all these directors who have a lot of spontaneous emoting and swearing in their films – that is death; it’s a cul-de-sac. It doesn’t lift the material at all. It’s just a cliched reproduction of what we think is normal behaviour.
It’s through working with a lot of first-time directors that I realized that people learn on their feet. Everybody works on something for a different reason. Everybody has got something new to learn on these sets, and you don’t have to know everything, the second you start.
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 don’t stay in my trailer. I like to sit in video village, probably to the annoyance of some producers and directors, because they really love to talk about actors, and they can’t in front of me.
I’ve learned so many things from directors in my acting career. There are even some things I’ve learned that I didn’t want to do. There are those directors who’ve really made me shine and others who’ve made me opaque.
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.
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.
When I was the NIH director, I often expressed envy of institute directors: they had the money and ran the scientific programmes.
Some directors I worked with didn’t even know how to read a blueprint, understand a plan.
I’ve been lucky to get some path-breaking films, which proved to be the turning point in my career. Be it ‘Rock on!’ ‘The Last Lear’ or ‘Raajneeti,’ directors started working in a different way.
Producers generally don’t like me; directors do, generally. Convincing the producers is hard. They can’t see the commercial value behind such a face, nor would they get a commercial value, necessarily – and I don’t mean that in a good way or a bad way.
I really just want to work with good directors and learn as much as I possibly can.
I guarantee you that two directors that are any good can take the same story, change the name of the characters, change the name of the town, and make an entirely different picture.
Most of the film directors expect their actors to want to work fast.
The more that I can work in different mediums, the more I can grow, and learn from different actors and different types of actors and directors and different styles of acting and build a tool box.
What I learned was it does not matter how much support you have in the boardroom, from the directors, the executives: you have to get results, and you have to win.
I wanna work with good people. I don’t want to work with screaming, yelling directors who’ve got daddy issues. I just don’t want to deal with those guys.
Like everyone else, I try to do quality work with great directors. But much of it has to do with luck.
I’ve been working with good directors – the Wachowski brothers, Spike Lee, Terry Gilliam, Mel Gibson… I love American movies, but I love European movies, too, and I want to do both.
I’d like to work with any actress from whom I can learn-one who has had many experiences with many directors and is willing to share some of her knowledge with me.
Don’t get me wrong: I’m overjoyed with my career to date. But perhaps I could have done more. Mostly, I just did whatever the directors told me to do.
I’ve always been a daddy’s girl, and that’s served me well in life; most of my directors have been male.
As a Japanese actor, I really want to work with a lot of actors and actresses in the world and many directors who have many different kinds of talents. I feel like nationally doesn’t matter at all.
If it were up to the executives, they probably wouldn’t have directors at all.
I was really amazed when I started hearing ‘Songbird’ on the radio. I couldn’t believe that the record company promotion department had actually convinced radio music directors to play it -because there wasn’t anything like it on the radio at the time.
I don’t think many actors are the best judge of careers. I think generally we have good instincts about what we can do in terms of acting. And often they become directors, which I don’t want to be.
Working with actors really depends on the actor. Most of the directors I’ve worked with don’t really know how to speak to actors, actually; some of the best directors don’t.
A lot of directors in television have come up through the technical ranks. They have all the technical skills in the world. They’re not all that familiar with actors.
As somebody who makes his living in the movie business and wants to contribute to it, I think that the best chance I have of doing that is just consistently working with great directors.
I dream of working with iconic directors such as Tim Burton, Baz Luhrmann, Terry Gilliam and Wes Anderson – so I’m setting my sights pretty high! My perfect role would be in a fairy-tale period piece, and I’m quite upset all the Harry Potter movies have been made as I’d love to have been in those.
Yes, I will probably concentrate on solo roles, but I would not say no to multi-starrers if they come from good directors and with a good script. I would allow myself the freedom to do it.
When you see the films of certain young directors, you get the impression that film history begins for them around 1980.
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.
Bollywood directors are like cricketers where in one match you score a century, and in the next match, you are out for a duck! Moreover, very few directors are consistent in Bollywood.
Kenneth Branagh is one of the funniest directors on the set. You laugh a lot. He’s very skillful.
In the past I’ve worked with directors who saw very much their scene in their head and knew exactly how they were going to cut it.
Our memories are convenient lies we create, cribbing images from others’ experiences. We discard the personal specifics which don’t conform to the ideal conventional beauty created by art directors and cinematographers.
I don’t know what to expect out of my films. My first two films were with extremely talented directors, and they didn’t work. And my next two films were with newcomers, and they worked well. So I’ve stopped expecting anything from my movies.
I’ve gotten scholarships from the Asian-American Directors Guild of America society and things like that, and those things helped me, even if I didn’t realize how much.
No, I don’t think it is required for casting directors to be actors too. My mentor Gautam Kishanchandani cannot act to save his life!
I want to act, I want to write, and I need to follow good directors.
I never want to make a film. I don’t wake up in the morning going, ‘Ooh, I’d really love to be on set making a film today’. I’m aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
I’ve worked with a lot of directors, some of them you wouldn’t really attach the word ‘artist’ to their name.
I know that some actors and directors like to have intensity on set. I don’t, particularly. Certainly, if they want that, that’s fine, but I can’t work like that.
Winning an Oscar attracts the attention of directors and other actors and creates a boost in salary, particularly for someone like Halle Berry. For an established star like Denzel Washington, the benefits are less tangible.
I think I’m probably one of the worst directors around, but I do have an interest in my fellow man.
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.
Obviously, I’ve been very lucky in general in my career, but I feel that I’ve been very lucky in terms of having directors come along at the right times who have taken me to the next level of where I needed to be.
