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.
A lot of student directors used to pick other students to be in their graduate films, so. I ended up doing a couple of them just for fun. Eventually, I got an agent through a friend and I did some commercials; then I got Knots Landing.
I always say that in my career as an actress, I’ve always worked with people like David Lynch or Guy Maddin or Peter Weir who are considered not mainstream directors and that could be because they are like my dad. They are pioneers, and pioneers, by definition, invent something new.
Most actors go, ‘I read the script and fell in love with it’; I fall in love with the directors.
I do like to work with young directors because it’s such a difficult business that I think after directors have been around a while sometimes, not always, but sometimes their passion gets siphoned off because they get hurt.
I’ve been really lucky to work with some really great film people in the past, but television works on a much quicker schedule, and it’s the TV directors I’ve worked with that I looked to and became a big fan of.
I go where the material is, and I feel like I’m looking for really strong directors. That’s the key ingredient. There are some directors I would move the sun and earth for, or stop the rotation of the planets, just to work with them.
I’m willing to have two directors on the DuPont board, me being one of them.
There are some directors I hear about in nighttime or some I used to work with who walk around like gods.
Once there are more African Americans and Asian Americans behind the scenes as producers, writers, and directors, I think more inclusive casting will happen.
I get crushes on directors because they are so brilliant.
I’m actually very snobbish about directors. I have to say ‘no’ all the time. ‘No’ is the most powerful word in our business. You’ve got to protect yourself.
There’s no big splashy renaissance in Italian films. We have good young actors and directors. What we lack are screenwriters. It’s hard to write about Italy.
All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it’s very linear. There’s a script, then you’re going to shoot the script ,and then you cut that, and then that’s the end of the film. And that’s never really been how I’ve seen it.
I’d love to see more women working as directors and producers.
I don’t like actors who try to talk directors into making their part bigger and that’s really lame.
I had a role in ‘Crossroads’ when I was about 21, and then I went on to perform in ‘Small Change’ and then ‘Piaf’ in the Donmar Warehouse, London, and it was when I was there that some casting directors spotted me.
I don’t mind any role as long as I get to work with good directors.
There are some moments where you’re so depressed, you cannot see the way, and you’re like, ‘Whatever. Bite me.’ I think all directors feel that way sometimes.
When you first get out of doing a show for a long time where you played a teenager, casting directors and producers all still look at you as being the character that you played for so long.
There are two kinds of directors: There’s the kind where two plus two equals four, and you have to help them figure it out. And then there’s the kind that throws you in a room, locks the door, sets the house on fire and films it.
There are so few directors who are musical who appreciate music.
I love acting, every job is a dream job when you’re an actor. I’d like to do eventually more film work and to collaborate with the best actors and directors in film.
A lot of the films now are more focused on the visuals than on the actors. I think all directors should go to drama school.
I’ve been very, very lucky in my career, in my life – from day one. When aspiring directors say, ‘What’s your advice?’ first I say, ‘Be born the son of a famous director. It’s invaluable.’
Because I’ve made a film with such an amazing director as Tarantino, I’m much more conscious of working with good directors from now on, so that’s what’s important to me. I don’t really care about making a big movie – I just want to make good ones.
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.’
In my first film, Five Corners, I played a very scary, violent crazed character, and it exposed me to a lot of directors.
I’m not the kind of actress who asks a lot of questions of my directors unless it’s something I really need to know.
The type of producing that I did for many years involved working very closely with directors.
The great directors managed to dissolve and disappear into the work. They make other people look good.
So many directors are solely focused on their own success in Hollywood and multimillion dollar budgets and deals.
I have been fortunate to have worked with immensely talented writers and directors who have had faith in me. There’s been very little hard work but a lot of learning. I have learnt from each of my characters, and I think that’s rather amazing.
I would like to direct. I am also happy helping other directors realise their vision. I am happy being a cog in a wheel.
Obviously with the onset of cable and satellite, there are more opportunities for programming and original programming, so it creates more opportunities for actors and producers and directors and everything.
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.
I’m very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.
I love working with the same actors repeatedly. That happens a lot. It’s kind of inevitable, especially if you work with the same writers and directors and you start to form a company of actors. You gravitate towards each other.
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.
I would like to work with new-generation directors like Karthik Subbaraj, Nalan Kumarasamy and Seenu Ramasamy.
I’ve worked with multiple directors throughout the ‘Saw’ series with a lot of conversations as they bring their particular installment to the screen. If I’ve been able to do anything throughout the course of these films, it’s been to help shape dialogue and to try to make things as delicate and as intelligent as I can.
I have many valentines. My mom and my sister and my directors. I got calls from all of them. And my friends. I respect what Valentine’s Day stands for because it is about love.
I’ve gotten to work with some wonderful directors and people who have been great teachers to me.
Stage is the place of the playwright: you’re guided by great actors and directors, but it’s the playwright’s word on the page that counts.
I have a lot of respect for people who are great at ad-libbing and for writers and directors who are able to create a scene in which that works. Judd Apatow is fantastic at it. But as an audience member, I like the sound of something that’s been written – I like it to sound written.
People attach too much to the idea of being a model, that you can only be a certain way to have done it. You will always be dealing with it. You’re an actor who used to be a model who never trained; there are not many directors queuing up.
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.
I get along great with directors, but I think some producers would tell you I’m a pain. They may say I’m tough to work with, but I have a great passion for what I do. I believe in fighting for it.
I am no expert on tax; I’m a film producer. I read books and think about which ones would make good movies, and then I work with directors in order to make them.
I’ve worked with some really great directors, and I’m really choosy about them because they’re telling the story at the end of the day.
Directors approach me for doing ‘strong’ women characters which, as an actor, increases a sense of responsibility to give my 100 per cent and even more for the faith they entrust on me.
We’re long past having to defend or explain why women should be on boards, given all the data that shows how companies with female as well as male directors perform better. It’s unfortunate when companies with a large percentage of women constituents don’t reflect that in their boardrooms.
I’ve been really lucky in terms of film projects with people, terrific actors and also writers and directors that I really respect.
I have a strong and strange character, and I’ve rarely met directors who knew what to do with this character. One of the few who did was my father, and in the theatre, Arthur Nauzyciel.
Two-thirds of the directors at the New York Fed are hand-picked by the same bankers that the Fed is in charge of regulating.
