So I'm here, and not being one for missed opportunities, I made a list of the casting directors in New York and mark off the ones I've already met over the years. The few remaining I asked my agent and manager, "See if you can set up some meetings while I'm here."
It's because you have no power. You give them all the material and the cinematographer, the director, the editor, boy what they can choose... You better hope they like you because they can slice and dice and make you look like a damn fool when your face and body are up there on a 30-foot screen.
Look, if I were running the FBI, you know, I probably would want to have backdoors as well, so I'm sympathetic to the director's view. But there is risk if you put that backdoor in. There's no question you enhance the risk, number one. Number two, there are the privacy implications that are of concern to parties.
When your set is led by a great guy and visionary like Director Tim Miler and a true superstar talent like Reynolds who's so easy to connect and improv with it allows it to be a lot of fun along the way.
After having edited numerous shorts, earning award nominations for it, and then 4 features edits, the director inside me is now burning to share its voice. Thriller, Horror, zany Comedy.
I knew [Jesse Owens'] name, but I really didn't remember what it is he had done, so I felt like I had to get refreshed. So I read the script and I realized like, wow, this is an incredible human being. I told my manager, however I had to do it, let me see the director; I got to play him.
John Lewis is such a remarkable human being. Literally, such a beautiful human being. I remember the first time I met him. We were in the middle of a scene and [Selma director] Ava DuVernay calls, "Cut," and then he literally just came in. He just came walking in.I just froze. I can't explain the feeling. Seeing somebody who was literally a living hero. He was a hero.
I have to say from an actor's perspective, to work with a director who has been an actor through most of their career is a pleasure. They generally have a very deep understanding of the process of what you're doing, of how you are building and exploring the character.
I think that there is a real beauty to the live aspect of the theater, and the working with a director for a month on a script in the isolation of a room and really deeply delving into who are these people, what is the story we're telling, how do we want to tell it?
I try to offer as much as I can to the director so he has as much to work with as possible to create the character that, really, he wants to create in a sense.
Sharing the same vision for what's on the page is always a good idea. The director's job is to establish what that is and make sure that everyone sticks to it when it comes down to actually executing it.
Establishing what the vision is and being able to stick to it is the job, and everyone should be on the same page, going in. With that said, first-time director or not, you never know what you're going to get.
Great directors turn in mediocre work and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know.
The directors were often really nice and I was well behaved, so I would just sit there in rehearsal. That allowed me to see the process - not just the result, the red carpet, all of the wonderful, fun things that happen afterwards - the nuts and bolts, the nitty-gritty, "Let's try to build this character from the page," tech rehearsals.
The thing I noticed, have learned the most about directors, is: when they're very confident in themselves, they're open to creativity from other people. If they're scared or nervous, then they shut off and nobody's ideas [count].
As a director, I hoped that I was able to help the actors by giving them the space and the respect they need and the trust. I gave them what I always felt I needed when I was working.
Sometimes the shots serve as homages to other movies and other directors, like Hitchcock.
There are many, many different kinds of movies and directors and styles. I don't mind that a movie looks like a movie.
As an actor, Sean [Penn] is brilliant. And he's really an excellent director, as well. We got along really well.
Jack [Nicholson] really knows about the camera. He's one of the directors who likes to play with the camera. He'll change things around, play with lighting, things like that. He'll even spend hours on the set-up for an insert shot. He's an interested person who gets involved in all the aspects of the films he is making.
There's definitely a psychology to making you feel important and like you're part of the game. It's a very special quality, especially with a first-time director.
What I like about being an actress is that it keeps you feminine. Being a director and producer makes you manly and very masculine and I don't like that quality in a woman. But I'll do it when the film is very close to me.
I try to add as much as I can before a director says, 'Harold shut up!'
[Make a sitcom] was really the idea of Executive Producer Joe Roth who owned the property over at Revolution Studios and said he was thinking about taking it to TV. And after he said that he already had [writer/director] Ali Leroi on board, and that he was going after Terry Crews, to me it was a no-brainer. I said, "Let's put this together!"
It's just that the nature of being a director is being incredibly overwhelmed with getting the shots right, dealing with the locations, and then there's a two-year-old in the scene, and all that stuff - you know, there's a lot of kids in scenes.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: