I depend on good editors and a good director.
There are lots of good directors I would like to work with; I want to be inspired and challenged by them.
I hadn't studied theatre and I hadn't studied actor training or anything, but I did have a sense of movement and composition, and what the final product would be like, but luckily I had friends who were good actors, who would help me get them, who would get themselves to the place where a good director should get them to build characters.
It was great having them around and I have to say pretty weird seeing them all grown up! Plus we have Jeremy Piven; and Ricky Gervais agreed to be in it and Antonio Banderas has a cameo in and that's a testament to Robert. He's such a good director and such a good guy. He gets everybody, because everyone wants to work with him.
I look for good directors mainly because if you do enough of movies where there's not a real creative vision behind it, you start to turn into a robot and you want to jump off a bridge.
A good director is very well prepared, and knows exactly how he's going to cut the film, so the shooting is as efficient as possible.
I think the mark of a good director is that they surround themselves with good people.
It was a fabulous experience shooting [in the Aviator], working with Leo [DiCaprio] and Danny Huston in the scene. It was great. I think what was most eye-opening about it was that [Martin] Scorsese was just like any good director you work with.
That was okay [ working with George Clooney]. One of these days I'll work with a good director.
It's true that I don't think I'd be a good director. If I were a director, I'd try to hire the best people I could and then leave them alone. I don't know much about cameras or lighting, so I'd make sure that I had a really good cameraman who understood lenses and lighting, and I say to him, "This is the scene we have to shoot and this is what I think it should be, you go do it." Same with actors. But really, very good directors who know everything do basically the same thing. They hire you and then they leave you alone.
I've turned down good directors before because I knew the part didn't speak to me and I've worked with less talented directors before because the part I had such passion for.
Snow Cake is a lovely film. Really proud of that. We shot it in 21 days. I thought Sigourney was amazing in it. And very, very accurate. I think there was some element that thought she had pushed it too far. But not at all when you do the amount of homework she had done and spent the amount of time she did with adult autistics. She was right on the money. And I think Marc Evans is a terrific director. He's a sweet, open, honest man and a really good director of actors.
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.
I always used to associate good directors as being ones who are totally extreme and have an answer for everything and there are no loose ends.
Also a good director and good dialogue. That's very important because you're bringing the words to life. So it's very important for an actor to have good dialogue.
It's incredibly easy as a director to be egotistical. Of course, it is because you have 200 people on set every day listening to your every word and whatever you say goes, and that can be slightly corrupting. And actually, to be a good director, you have to take ego out of it, because hopefully what you've done is surrounded yourself with brilliant people. Let them be brilliant and you just shepherd that and marshal that and hopefully guide it however you can, but definitely not to the extent that you're overbearing.
Having a good director is very important. It's crucial. When you do good work with a certain director, you want to work with them again, and hopefully vice versa.
I depend on good editors and a good director. It's up to the way they shoot it, the lighting and all that. I like how small you can be on TV.
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'd love to do a Michel Gondry film. That would be ideal! I'd love to do an Almodovar film; you know, I think he's very, very talented. I don't care that people say he's pretentious. So what? He's a good director; he can be pretentious.
Maybe if we sit out for the next few years and let Clint Eastwood get a little experience, he's going to be a good director.
I've worked with Jack Nicholson and Robert De Niro and Tom Hanks. I've worked with some really good directors: Woody Allen, Paul Schrader... My God, I've really worked with a lot of people. But I'm intimidated by them, and I'm always thinking, "Oh, my God, he's not going to like me, and I'm going to get fired."
More often than not, if you've got a good director and a good script you can't really go wrong.
A good director has to be a captain - he has to work with a lot of people every day.
Because I've made a film with such an amazing director as Tarantino, I'm much more conscious of working with good directors from now on, so that's what's important to me. I don't really care about making a big movie - I just want to make good ones.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: