How can you have a director that doesn't go to work with the crew every day and talk to them?
Id love to see more women working as directors and producers.
You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.
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.
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.
I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.
In choosing any role, I ask the same questions: what kind of part is it? is the role challenging? does the director have a vision? is the story moving? etc.
Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.
I love the first two X-Men movies because I thought that Bryan Singer did such a great job. He elevated that whole genre. He's a very talented director.
A director in Hollywood in my time couldn't do what he wanted to do.
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.
Directors and writers have a lot of stress as well, because they have people they answer to.
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.
I always choose my projects for the script or what the director want to tell with that story. And if I like the story.
How people are around a director, it really does affect everything, every detail of the life of the movie.
If I feel the part is right, and I know that the producers and the director want me, I'd go for broke. Always.
Jim Brooks is a very powerful director and it was a lot of intense work.
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.
Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.
The job of the director is to suggest two plus two. Let the viewer say four.
I always claim that the writer has done 90 percent of the director's work.
Don't wait around for someone else to tell your story. Do it yourself by whatever means necessary.
Feeling unsure and lost is part of your path. Don't avoid it. See what those feelings are showing you and use it.
I think one of the major things a director has to do is to know his subject matter, the subject matter of his script, know the truth and the reality of it. That's very important.
Movie directors, or should I say people who create things, are very greedy and they can never be satisfied... That's why they can keep on working. I've been able to work for so long because I think next time, I'll make something good.
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