I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.
Different directors have different techniques in the use of films. Cronenberg is very different in the way he works with film, and how he takes the audience into his films is different than how Peter Jackson would do that or Jon Stewart. So, if you go between those artists, you shift gears and you kind of fall into the working method of that film.
I usually work with the director and it's just a collaboration between me and the one person. I think you make good movies that way. If the director and the composer can have this common goal and this excitement about making something great, then you're going to do something good.
I know a lot of directors have a whole staff of people trying to find their next film for them. I always just end up writing mine.
I had a caricature view of the guy in the beret with the big megaphone, but a movie director and writer was beyond my role of understanding.
I loved making The Imitation Game and it's really gratifying to hear the audience's response to the character that I play. It was just a little thing that I did because I really liked the film and I liked Benedict [Cumberbatch] and I loved Morten's [director Morten Tyldum] previous film, Headhunters. For me, it was something I did thinking, "Wow, this is a lovely quality piece of work."
Writing a good movie brings a writer about as much fame as steering a bicycle. It gets him, however, more jobs. If his movie is bad it will attract only critical tut-tut for him. The producer, director and stars are the geniuses who get the hosannas when it's a hit. Theirs are also the heads that are mounted on spears when it's a flop.
If you, my fellow copywriters or art directors, want to win the award, devote your genius to making the cash register ring.
There are two kinds of filmmaking: Hitchcock's (the film is complete in the director's mind) and Coppola's (which thrives on process). For Hitchcock, any variation from the complete internal idea is seen as a defect. The perfection already exists. Coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.
Eratosthenes was the director of the great library of Alexandria, the Centre of science and learning in the ancient world. Aristotle had argued that humanity was divided into Greeks and everybody else, whom he called barbarians and that the Greeks should keep themselves racially pure. He thought it was fitting for the Greeks to enslave other peoples. But Erathosthenes criticized Aristotle for his blind chauvinism, he believed there was good and bad in every nation.
Let's be clear: all professions look bad in the movies. And there's a good reason for this. Movies don't portray career paths, they conscript interesting lifestyles to serve a plot. So lawyers are all unscrupulous and doctors are all uncaring. Psychiatrists are all crazy, and politicians are all corrupt. All cops are psychopaths, and all businessmen are crooks. Even moviemakers come off badly: directors are megalomaniacs, actors are spoiled brats. Since all occupations are portrayed negatively, why expect scientists to be treated differently?
As a director, I wouldn't like me as an actor. As an actor, I wouldn't like me as a director.
Jimmy [Dean] was the most talented and original actor I ever saw work. He was also a guerrilla artist who attacked all restrictions on his sensibility. Once he pulled a switchblade and threatened to murder his director. I imitated his style in art and in life. It got me in a lot of trouble.
Every actor. every director, everybody needs an Oscar. You have to have that little statue in Hollywood or else you are nothing.
...there are two (inter alia) two ways of ruining a society - namely, letting the market "be the sole director of the fate of human beings," and allowing technology to permeate every aspect of our lives. In the United States, both of these developments have converged, creating a huge chasm between rich and poor and pushing us over the edge into a kind of antisociety... While these developments have been widely hailed as the dawn of a golden age, the likelihood is that they actually amount to a death knell, the beginning of the end of the American empire.
If you have the right actors and you can give them the freedom to explore, you've done a lot of your work as a director.
I'm not a Hollywood director. I'm an in spite of Hollywood director.
I don’t want to be an editor! I don’t want to direct; I’d be a horrible director. I don’t want to write - I have a “story by” credit on one film I did. And I don’t want to edit at all.
I have a hard time visualizing anything, which is why I'm not a director, and which is why I try to work with ones I know have a strong idea in mind.
I was lying in bed on a Saturday morning, reading the paper, when my phone went. The caller was Rangers director, Jack Gillespie, and he offered me the manager's job at Ibrox. I was flattered but declined with thanks. John Greig was a good friend of mine and I had no intention of being involved in ousting him.
When you do improv, you're everything. You're a performer, writer, and director, because you're moving the scene in the direction you want it to go, you're making it up as you go, and you're acting it.
It wouldn't have existed without France, and it's a French initiative. As a filmmaker, I owe everything to France - I got accepted at a French film school that takes six directors a year. Once you're in, you make films under the eye of people in the industry. You grow up in front of their eyes.
The foreign-language Oscar is something that doesn't go to the producer or the director; it goes to the country.
It doesn't matter where you make movies or what the size of the movie you make is. It's a very hard job - especially director.
Producers don't like the director who ignores their opinion - but I always try not to be the nicest person when making a movie. It's easy to do that. Just say 'Yes sir', "Alright', 'Okay' - but they're not seeing the movie because if they can, they should be directing the movie.
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