Directors and writers have a lot of stress as well, because they have people they answer to.
I don't come in with any preconceived ideas, and although I will have done some preparation, I can go which way the director wants.
If you're a movie actor, you're on your own - you cannot control the stage. The director controls it.
Personally Im very happy to be behind the scenes. I like collaboration, I like working with directors.
I had no plans to be a director.
You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.
Every director is completely different.
I always think that a director who knows about the technical side, but cares about the acting performances and casting as well, is ahead of the game.
You have a right to your opinion about the work that you're doing. An artist is as equally important as the director. If you believe that, you can work in any circumstances.
I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.
A lot of directors don't want the pressure of a movie the size of Pearl Harbor. But I love it. I thrive on it.
I always choose my projects for the script or what the director want to tell with that story. And if I like the story.
Every casting director I've met is a woman.
If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.
I have worked with some great directors.
I mean, I've sold all these scripts and nothing's been made. Studios have closed, stars have died. I had a director find Jesus. And the pictures just don't get made.
I would love to have a part opposite a great actor - like, say, Pacino or De Niro or Hoffman. And to work with a top director. That's my dream.
How can you have a director that doesn't go to work with the crew every day and talk to them?
You hope and pray that you'll get involved with a director that you understand and who has the same sensibility as you do and knows how to push you and bring out the best in you.
Every part I've done has been for one reason or another-money, or the part, or the director, or the location. I'd like to get one thing that's all of those combined.
The film director, in many instances, has to swallow somebody else's decision about the final form of something. It's so hard as to be intolerable.
Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.
If I feel the part is right, and I know that the producers and the director want me, I'd go for broke. Always.
I think Van Sant is the most important American director we have. He takes the most risks. He's just pure to me.
How people are around a director, it really does affect everything, every detail of the life of the movie.
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