Directors Quotes - Page 23

• I absolutely loved it, and I loved the way the character of D'Artagnan had been portrayed. I was just well up for it. So, I went in and met (director) Toby [Haynes], and as soon as I got into that room, to see how excited everybody was to get this underway and onto the set, it just drew me to it, even more. It was an instant attraction, so I was delighted when I got the offer.

  Luke Pasqualino

  Character, Toby, Way

  Source: collider.com

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• You do see a few people and you are thinking of how that chemistry is going to work, but it's not really fair to put people who are auditioning together in a room. You have to make that judgement yourself, and that's partly where the casting director is so good. It was that blend that we were looking for.

  Adrian Hodges

  Thinking, People, Judgement

  Source: collider.com

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• On a simple level, you need directors who are good at action and can choreograph an action scene, but you need them to also have that sense of fun and that sense of movement and that ability to get the actors to really respond to the material in the way that you want them to. It's a very big thing.

  Adrian Hodges

  Fun, Simple, Needs

  Source: collider.com

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• You're always looking to make it a bit fresh. I want to make sure people are constantly surprised and interested, and we're always talking to the directors about that. It's a big challenge to find people that can do it.

  Adrian Hodges

  Talking, People, Challenges

  Source: collider.com

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• I certainly like the actor to have as much lee-way as possible. In the same way that director Bong was generous enough to let me create, you have to do that for actors, as well, and let them use the tools they have, and part of that is their own brains and their own words.

  Kelly Masterson

  Brain, Tools, Use

  Source: collider.com

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• Your job, as an actor, is never to just do what you're told. That's boring, and life is too short. It's your job to bring something, and it will either be to other people's taste or your own taste, and you have to try things out. Actors say, "Well, as long as the director's happy," but I don't believe that and I don't agree with that. I want the director to be happy, but if I'm not happy, I won't sleep at night.

  Martin Freeman

  Jobs, Believe, Life Is Too Short

  "Martin Freeman Talks FARGO, Finding the Character, Lester’s Breaking Point, SHERLOCK, and More". Interview with Christina Radish, collider.com. May 27, 2014.

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• However happy the director is, I have to be okay with it. I'm pretty strict with myself, about throwing things out or trying to be true to whatever the situation dictates.

  Martin Freeman

  Trying, Throwing, Being True

  "Martin Freeman Talks FARGO, Finding the Character, Lester’s Breaking Point, SHERLOCK, and More". Interview with Christina Radish, collider.com. May 27, 2014.

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• Sometimes if you're a director, you want to believe that you're great and capable at all aspects - the technical side, the lights, everything - but I'm not.

  Steven Knight

  Believe, Light, Want

  Source: collider.com

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• When you're a director you always feel weird with another director watching over your shoulder.

  Fede Alvarez

  Over You, Shoulders, Feels

  Source: collider.com

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• For me, each film, each script is like a little journey in itself, and I'm reinventing the wheel. It's like how do I make this film. That's part of the pleasure and that's why I'm not a normal professional director.

  Pawel Pawlikowski

  Journey, Littles, Scripts

  "Writer/Director Pawel Pawlikowski Talks IDA, Returning to Poland, His Visual Style, Shooting in Black in White, and More". Interview with Sheila Roberts, collider.com. May 1, 2014.

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• David Ayer was put on my map, at that point, and I always kept note and clocked his career. When he started directing, I saw Harsh Times, I saw Street Kings and I saw End of Watch. I gave my agents a list of directors that I wanted to work with, and at the top of that list was David. I wanted to have that experience.

  Joe Manganiello

  Kings, Careers, Watches

  Source: collider.com

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• I'm the most experienced cinematographer in this medium, so there's no point in having that extra conversation in the middle of the loop. You're making the film in relation to what's happening now, and you can't really affect what's happening now. It's not like you're in control of anything in front of the camera. If you're calling yourself the director and you're not the cinematographer, I think you're kidding yourself.

  David Douglas

  Thinking, Cameras, Calling

  Source: collider.com

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• Directors typically have three choices - you do a studio movie and get a paycheck up front, you do an independent movie, which is for your heart and you don't get paid up front and probably don't make any money on it, but it hopefully goes to Sundance and is more of an art movie, and then you do TV.

  Jason Blum

  Art, Independent, Choices

  Source: collider.com

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• Some directors are comfortable with music. Some feel comfortable discussing and talking and operating in a musical language. Others don't engage so much.

  Henry Jackman

  Talking, Musical, Language

  Source: collider.com

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• Some people feel like you need to have a very specialized understanding of music to have the authority to talk about it. They are such good directors that it's perfectly possible to have conceptual and directorial and storytelling conversations about music without needing to know all the technical pieces.

  Henry Jackman

  People, Understanding, Needs

  Source: collider.com

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• To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.

  Henry Jackman

  Art, Character, Mean

  Source: collider.com

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• I like to audition for good projects because if it's a good project, it's an opportunity to get in front of a casting director.

  Krysten Ritter

  Opportunity, Casting, Auditions

  "Superhero and the City". Interview with Emma Brown, www.interviewmagazine.com. November 23, 2015.

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• For an actor, it's very important to get a clear idea of what a director wants, and their intention for what they want to get out of a scene and how they want to shoot it. Having that knowledge is really valuable, for an actor. It means you can deliver more.

  Clive Owen

  Mean, Ideas, Important

  Source: collider.com

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• A lot of the projects that I do, I like to be involved with earlier. I just feel that, certainly from an acting point of view, it's easier to do my job, if I'm included in what the intentions are, for why people are doing what they're doing, especially with a director.

  Clive Owen

  Jobs, Views, People

  Source: collider.com

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• I think movies say a lot [about real life], even more than theater. It says a lot about the invisible, that movies are so fascinating. The camera lens is like a microscope that goes beyond the surface. It's like you're exploring a secret, so you explore the director's secret, you explore the actor's secret, and therefore you explore the universe's secrets.

  Isabelle Huppert

  Real, Thinking, Secret

  Source: www.interviewmagazine.com

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• As a writer, you have to be willing to kill your darlings, and I'm a writer first. As a director, I've got no problem cutting the scenes.

  David Ayer

  Cutting, Firsts, Problem

  Source: collider.com

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• I think it's very interesting for a director that enjoys thrillers and mysteries like I do to have the challenge to do that.

  Jaume Collet-Serra

  Thinking, Interesting, Challenges

  Source: collider.com

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• I rely on my directors, a lot. I love being directed.

  Vera Farmiga

  Love Is, Rely

  "Vera Farmiga and Executive Producer Kerry Ehrin Talk BATES MOTEL, Returning for Season 2, Norma’s Possible Love Interest and Plans for Season 3". Interview by Christina Radish, collider.com. March 2, 2014.

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• I cherish each director that I have. I want to be maneuvered out of my comfort zones. I don't have the time to prepare.

  Vera Farmiga

  Comfort, Want, Cherish

  "Vera Farmiga and Executive Producer Kerry Ehrin Talk Bates Motel, Returning for Season 2, Norma’s Possible Love Interest and Plans for Season 3". Interview with Christina Radish, collider.com. March 2, 2014.

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• This is the fourth movie that I've done with this set of director-writers and I've learned to trust them at this point, because actually I started on Lego before they did.

  Mark Mothersbaugh

  Done, Legos, I've Learned

  Source: collider.com

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