I've learned a lot from Clint [Eastwood], who's an extremely economical director.
Working with [Robert] De Niro taught me a lot about being an actor's director.
I was meeting a lot of directors and reading scripts, and I was like, "Well, I'd love to play this part," but I couldn't.
With RoboCop, I couldn't be happier because it's such a quality director.José Padilha is a young master.
It's funny, I worked with a lot of directors in the many years that I've been doing this, and generally when you hear a director yelling on set, everybody scatters in the other direction.
(The) process of acting is no different to conventional screen acting, in that it's providing a perfect interface between the director and the performer. So there's no sort of long way around a viral committee of animators.
People are mystified by it and so they kind of think, the acting community thinks they're gonna be replaced by CG characters and animators think they're gonna be replaced by performance capture (and) a lot of directors, particularly European directors, who have no experience of it.
When I just write something, it's usually because I love it, I love the material, but I feel like I really need a creative partner to crack it. And I certainly need and have a lot of creative partners as a director.
To have a museum like the Museum of Modern Art in New York is to have power. I don't have any interest in being the director of an institution that has power.
A lot of the best acting training I had was in junior high and high school. We had very demanding directors and did real plays. You put our plays up against any theater troupe of any age, and they usually did pretty damn well.
Getting back in the directors chair - there's a sense of like doing something every year. It's not like riding a bike, you're always learning new things, you're gonna face new challenges and when you face new challenges you'll have an answer for them.
I've been fortunate to work with good directors who understand improvisation and understand the way comedians work. Luke Basan let me do my thing like do what you feel and take the character to another level. Quentin Tarrantino was more of an acting coach. He can teach you beats and then hell say go with it but give this feeling. So I've been fortunate to work with good, seasoned directors.
I guess you could say I'm like a film director but my movies have only one frame.
What the computer can do in art and design has turned aesthetics on its head... with the computer, things are not so much created as they are produced, with the producer-director becoming the star and the controlling force of much that was in other hands at other times.
Out of nowhere she tells me that Oliver Stone - you know, the director - she's like, 'He has this huge Asian fetish, and I find it totally offensive.' And I'm like, 'Why, Kwan? That sounds awesome.' She's like, 'I'm offended because I'm Asian.' And I was just like, 'Well, I'm sorry, but I didn't even notice that. I thought you were just really tired.
If a director brings a guy to their movie who does improv, they've got to let him do what he does - otherwise it's like bringing Michael Jordan to your basketball team and telling him to just pass the ball and don't shoot.
I really want to meet and work with JJ Abrams. Everyone talks about what a nice director he is, and he has kids and stuff, so he sounds really awesome, not to mention he makes awesome movies.
The director of The Sopranos told me that, if I wouldn't gain weight, I would lose my job. I didn't look like the girl who ate pasta all day. This was an extra stimulation to fight my eating problems.
It has never ever been a bad thing in Hollywood to be sleeping with a director who's just won an Oscar or the hot new movie star whose face is on the cover of 'Time' magazine.
A lot of times there were big mistakes, but I would show the art director and he'd say, Yeah, let's go with it. There would be a strange cropping or one girl in focus and three out or a blur. But I would end up liking the mistakes and incorporating them into my work. And I became known for it.
My passion is becoming involved in good work, whether that means as an actor or writer or director or producer or all - that is not as important to me.
If you have a screaming angry director, everyone else will be panicked as well.
When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.
I love Malcolm Lee and jumped on the opportunity to work with him as a director.
Once there are more African Americans and Asian Americans behind the scenes as producers, writers, and directors, I think more inclusive casting will happen.
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