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To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.
Be extremely subtle, even to the point of formlessness. Be extremely mysterious, even to the point of soundlessness. Thereby you can be the director of the opponent's fate.
I no longer do a film for the wrong reasons. I have to be convinced ethically and morally. Both the director and I have to be on the same page. There are just five songs in most films these days, and they have to be amazing. There has to be a twist in the screenplay. The editing has to be crisp. Your hard work should show, but effortlessly.
A few years back I was asked if I would go and meet a director and his various acolytes, and it occurred to me halfway through the meeting that what I was doing was auditioning. And I thought, 'Well, hang on buddy. I've done half a century of this.'
The director of the FBI has been visiting Silicon Valley companies asking them to build back doors so that it can spy on what is being said online. The Department of Commerce is going after piracy. At home, the American government wants anything but Internet freedom.
So I started to learn Russian and I was one of those probably way too eager, annoying young actor kids who was trying to change all my lines to Russian, much to the dismay of the director and Nic Cage.
A great opera house isn't run by a director, but by a great administrator.
My job as artistic director at the Brighton digital agency Lighthouse is all about trying to show that digital culture is about more than just tools and gadgets - it's about perceiving the societal transformations being brought about by technology.
Like any creative human being, I would like a bit more control so that it would be a little easier for me when the director says, 'One tear, right now,' that one tear would pop out.
Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
I wouldn't say I'm personally trying to transition from comedy into drama. I don't look at things like, 'Oh, I need to do a drama now.' I get a lot of material sent to me, and if I feel like something has the creative integrity and the right director and the right whoever involved, the right actors and is a great story, then I do it.
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.
A director makes 100 decisions an hour. Students ask me how you know how to make the right decision, and I say to them, 'If you don't know how to make the right decision, you're not a director.'
There is a wonderful feeling of power when you're a director, but I don't think I need that, and I'm OK without it.
I suppose a good director is like a teacher. I think that someone like David Cronenberg was very much like a teacher, because there's an openness, but a certain set of rules of behavior, and a certain conduct expected. But there's an atmosphere that's relaxed and conducive to exploration, and that is created by someone like Cronenberg.
As an actor, you want a director who makes you feel comfortable in a place that you can really create and try a lot of different things.
How do I let the director know how obsessed I am and willing to do anything for the movie? Like, I wanted to write this one director a letter, so I wrote him a handwritten note. But then I was like, 'How many people are writing this guy handwritten letters? Is it going to seem cheesy? What do I do?'
My dad took me for an audition once, to show me, 'OK, you want to be a child actor, this is what it's like.' I sang a folk song about donkeys on this West End stage with this big director, and there was a queue of 200 girls all singing 'Memory.' I was terrible. Terrible.
When Orson Welles was acting in 'Compulsion,' the director Richard Fleischer let him just take over and direct the courtroom scenes. To be able to see Welles - who knew more about directing than anyone - direct himself and the other actors, it was unbelievable and unforgettable.
The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
I started out with this dream of being a director and doing cinematography and bought my first film camera at 15.
I'm not a real film buff. Unfortunately, I don't have time. I just don't go. And I become very nervous when I go to a film because I worry so much about the director and it is hard for me to digest my popcorn.
I feel fortunate. I've really gotten to work with amazing talented people, and to learn from them, which is why I'm doing this. If I can work with the best director I'm going to do it.
In feature films the director is God; in documentary films God is the director.
My greatest strength as an actor is that I follow my director's brief completely. The film is always the director's visual baby.
I didn't dream about being a director. I didn't know I wanted to do something with film until the summer between my sophomore and junior years at Morehouse College in Atlanta, Georgia.
Martin Luther King, Jr.
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What light is to the eyes - what air is to the lungs - what love is to the heart, liberty is to the soul of man.
Robert Green Ingersoll
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