I was hired because I am Zsa Zsa Gabor, but when I go to work, directors try to force their methods on me. John Huston’s intense, precise directions tortured me.
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.
I often meet young directors who, you know, had a ‘Ghostbusters’ picture on their wall as they were growing up. And it’s really nice. It just shows how inter-generational our industry is.
I love being on sets with very seasoned directors as well as very new directors. Every time is a discovery process. You learn something new every time.
If Martin Scorsese calls, I am available. And then there the ones, well, you can just run down the list – any of those Oscar-nominated films, they have amazing directors across the board.
I like working with different directors; it keeps you on your toes.
A lot of directors idealize their leading ladies or turn them into these objects of sexuality and beauty.
I don’t plan, because everything goes against my plans anyways. There’s absolutely no point in planning anything. I’m just enjoying the moment. I’m meeting with a whole lot of people – casting directors, directors, agents. I have things going on everywhere, but I have no solid plans.
Many Mexican directors are scared to shoot in Mexico City, which is why there are many stories in Mexican cinema about little rural towns, or set a hundred years ago.
In the age of activism that is clearly not going away, it would seem that some form of engagement from directors with shareholders – rather than directors simply taking their cues from management – would go a long way toward helping boards work on behalf of all shareholders rather just the most vocal.
I am tired of kissing on screen. I have to do it because it is synonymous with me. Also, the producers and directors want to add that element. I don’t give it too much importance.
I feel like some of the best talent is on TV right now, with the writing, acting and great directors. I’ve also been looking for the consistency of work that TV provides for you. And, I always thought it would be really interesting to live with a character for months, if not years.
David Ayer is one of the best directors I’ve ever worked with. He’s a true man’s man.
I was on the state board of directors of the American Civil Liberties Union.
The best working experiences I’ve had are with directors who want to create with you while you’re on set. I prefer a much freer environment. That’s why I’m always trying to mess things up, just to know that I can!
As an actor, I love working with directors. As much as I love working with other actors.
I’ve been lucky to learn by playing all kinds of roles and watching all kinds of really good cinematographers, actors, and directors for many years before people were even aware of me in terms of audience.
All of the directors I’ve worked with I have loved and would work with again. I have no favorites.
The question I always ask is: ‘Where are all the women directors in America?’ You know, where’s the female Martin Scorsese, the female David Lynch?
I’ve been very lucky to work with a lot of amazingly supportive directors.
Awards are important for all directors because they improve your working conditions. You’re only as good as your last film, so if you get prizes or large audiences, then you get more money for your next film.
There are lots of good directors I would like to work with; I want to be inspired and challenged by them.
Some directors ask for a hero introduction number, a duet and a fast number towards the climax. Most of the times, these songs only hinder the story.
What I’m looking for is the variety of choices and the opportunity to work with great directors – that’s what I’m looking for.
I haven’t gotten jobs because I’m famous or I have a big Twitter feed – it’s primarily directors. People employ me because I’m right for the part. But then, everybody needs a bit of luck, being in the right place at the right time. You just gotta be in that place for that opportunity to come by.
My respect for animators and animation directors has gone way, way up and it is just not something you can phone in.
When movies work or a TV series, when they really work, it’s because of the collaborative effort. Competition is the death knell for anything, in my opinion. Especially in Hollywood. When actors are competing against each other, or when directors are competing against actors, it’s usually the beginning of the end.
Even a modicum of celebrity is hard to deal with. You see it with actors and directors all the time.
I think the best directors provide you with a safe environment where they can instill you with confidence and allow you to try things out and not feel like you’re failing or that you’re doing it wrong.
So, we come out to Los Angeles. And we met with every network. We met with show runners, directors, writers, everything. And what we had an idea for, they didn’t like. And what they had an idea for, we didn’t like. So, we went home.
Most directors that I’ve worked with – I’ve worked with before, especially in Holland – and they know that I’m somebody who talks and asks, and talks, and talks, and talks and questions and turns things around. I’m like a little cat, walking around my little nest until I find my place.
People don’t normally just say, ‘Do you want to come and audition for one of your favorite 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?
It was a movement that had all the art critics, all the museum directors in its thrall.
There’s a lot of directors who were actors, so they have the sensibility of an actor, which sometimes helps.
I’m in awe of directors like the Coen brothers who can shoot their script and edit it, and that’s the movie. They’re not discovering the movie in postproduction. They’re editing the script they shot.
When you do a first movie, you’re contractually supposed to do the second one and then you don’t do it, you become an executive producer. That’s why there are a ton of directors who have executive producer credits on other movies.
I happen to have worked with male directors who don’t understand women at all. Not at all. I’m flabbergasted by their ignorance.
I’ve had amazing experiences with directors who believed in me.
Some very famous directors have started in the mail room, which is just getting inside the studio, getting to know people, getting to know the routine.
As you’re growing up, it’s odd, because directors don’t expect you to grow up. They think you’ll be young forever, but as an actor, there is an awkward period when you’re too young for old or too old for young, and it can be an odd time.
I don’t think I have advice for female directors as opposed to male directors. I think all first-time directors should try and be as prepared as they possibly can, because it’s hard!
It’s interesting – I always thought when I was doing more melodramatic stuff like ‘Everwood’ that the directors were constantly reeling me in and stopping me from being funny.
I think actors do make really, really wonderful directors.
There are all kinds of directors I want to work with and all kinds of films that I want to do.
Sometimes directors may not give you words, you know? They may not talk at all! You’ve just got to use your radar to figure out how you can get to the center and not lose yourself, but still be directed at the same time.
I’m not a trained actor. I surrender to my directors, and they make me act.
A lot of times passion projects or films are difficult to make because they don’t have proven directors attached to them.
When I was younger, I used to write to directors when I was unsure I could play a role. I’d say: ‘You’ve made a terrible mistake.’
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.
There are only so many hilarious actors so when they cross-pollinate, people assume it’s always the same actors and directors.
Directors don’t call you for your beauty but for your talent.
A sportswriter’s life means never sitting with your wife or family at the games. Still working after everyone has gone to the party… Digging beneath a coach’s lies, not to forget those of athletic directors and general managers and owners of pro teams. Keeping a confidence. Risking it.
I mean, I’m willing to do anything with Chris Chulack – he’s one of my favorite directors I’ve ever worked with, and I just think he’s a fantastic man, and a great creator, and a good friend.
There are a lot of directors I’d still love to work with. Paul Thomas Anderson is someone I’d love to work with. I think Alejandro Gonzalez Inarritu is very talented. Ang Lee is very talented. I mean, there are a lot of people. There are many great directors out there.
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.
All the directors that I’ve had the opportunity to work with are fantastic.
A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.
