My sense is, I think it's okay for directors to do movies that speak to other work in their career.
It is absolutely my conviction, that Walter Salles will figure among the great directors of our time.
A lot of really good directors have a killer in them, as if they'd do anything to get that image. But that comes with the terrain and I don't mind it.
I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.
And I just want to work with good directors and good people.
I'm a director's actor; I'm a storyteller's actor.
I've worked with a lot of great directors.
I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.
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.
Character and emotionality don't always have to be relegated to quieter, more simple constructs.
I got an internship with the casting director of The Girl Next Door. I would hold the clipboard and help them in their casting sessions and get them lunch.
I'm actually one who will encourage directors to cut my lines.
As a producer, I probably am a little stronger than most, since I was a director originally.
I never wanted to be a director.
The director I had most involvement with was Alex Rockwell. He gave me a lot of responsibility as an actor.
I got space from Travis Air Force Base, went back to the Philippine Islands and made it a point to meet the only American casting director in the Philippines. I was off and running.
I have only one rule in acting - trust the director and give him heart and soul.
A film director has to get a shot, no matter what he does. We're desperate people.
Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.
The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role.
I don't have any particular excitement about working with any specific director or actor at this point.
I've stood up to producers before, and even a director. I saw them being abusive. A lot of people on the set are scared to say stuff when they're not being treated right.
I'm a performer, comedian, entertainer, writer and director.
People have forgotten how to tell a story.
And as a director, you make 1,000 decisions a day, mostly binary decisions: yes or no, this one or that one, the red one or the blue one, faster or slower. And it's the culmination of those decisions that define the tone of the film and whether or not it moves people.
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