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Every director bites the hand that lays the golden egg.
Many plays - certainly mine - are like blank checks. The actors and directors put their own signatures on them.
I am a typed director. If I made Cinderella, the audience would immediately be looking for a body in the coach.
I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.
In feature films the director is God; in documentary films God is the director.
A director makes only one movie in his life. Then he breaks it into pieces and makes it again.
That's the trouble with directors. Always biting the hand that lays the golden egg.
In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
Directors are never in short supply of girlfriends.
In the future, everybody is going to be a director. Somebody's got to live a real life so we have something to make a movie about.
A man sooner or later discovers that he is the master-gardener of his soul, the director of his life.
My sole inspiration is a telephone call from a director.
When I auditioned for my high school band the band director was excited because my father was known to be a great musician. When he heard me, he said 'Are you sure you're Ellis's son?'
I was six years old when I saw my first Godard movie, eight when I first experienced Bergman. I wanted to be a director when I was fourteen.
I'm fairly competant as a director and actor, but I am Mr. Neurotic as a writer. I just don't have enough confidence in my abilities to take criticism well. I take it personally. Start with 'It's a masterpiece,' and then tell me what you think could be changed.
My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.
It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.
When I work, I work very hard. So I look to work with people who have that level of dedication. And I depend on that from everyone. From the director to my crews that I work with.
I don't like actors who try to talk directors into making their part bigger and that's really lame.
I want to work with great directors and try not to put too much pressure on myself and just read things for the story and recognize when I'm drawn to something for the right reasons and try to maintain some sanity.
My Mom is a ballet director, so I had this idea in me that classical training is the best foundation for anything you do, so I wanted to get a classical background and voice.
I've worked with many directors, good ones and bad ones. So if I have a chance to work the good ones, I better put myself in their hands, and trust them, because that's my big opportunity to be different, and to be better than usual.
I view the whole thing as a collaboration. As an actor, I always found that to be the most freeing thing, when the director would collaborate with you, so that together you'd come up with something exponentially better.
I'm becoming a frustrated director, I think, in an actor's body.
In a movie, you're raw material, just a hue of some color and the director makes the painting.
I think the wonderful thing about doing theater is that it's more of an actor's medium. I think that film is more of a director's medium. You can't edit something out on stage. It's there.
The first work of the director is to set a mood so that the actor's work can take place, so that the actor can create. And in order to do that, you have to communicate, communicate with the actors. And direction is about communication on all levels.
Directors are not worried about casting beautiful women, but they are not sure that they want to cast great-looking men. My looks have prevented people from seeing my work.
If I feel the part is right, and I know that the producers and the director want me, I'd go for broke. Always.
My musical director, Mark Cherry, is the most wonderful person who ever lived on God's good green Earth. He's my director, he does the arrangements. Really, he does everything - including certain janitorial chores!
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