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I would love to occasionally do English-speaking films, but the script is as important for me as the director.
When I come up against a director who has a concept that I don't agree with, or maybe I just haven't thought of it or whatever, I'd be more prone to go with them than my own because I want to be out of control as an actor, I want them to have the control, otherwise it's going to become predictably my work, and that's not fun.
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.
In feature films the director is God; in documentary films God is the director.
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.
I am a typed director. If I made Cinderella, the audience would immediately be looking for a body in the coach.
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?'
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.
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.
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.
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.
I think of Ray Harryhausen's work - I knew his name before I knew any actor or director's names. His films had an impact on me very early on, probably even more than Disney. I think that's what made me interested in animation: His work.
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.
I look for the character to be something interesting, the script to have a good story and be original, and a director that I admire.
There is no part of the executive branch that more exists on the outer edge of executive prerogative than the American intelligence community - the intelligence community, CIA, covert action. My literal responsibility as director of CIA with regard to covert action was to inform the Congress - not to seek their approval, to inform.
It's true, I'm the youngest, highest-grossing French director. I have a few records, but no one knows or simply doesn't care. That's good, because I like that. Ultimately, I want to keep working, making a lot of movies, and get better at it. It's about finding great scripts and bringing them to life.
I feel as if I've been fairly successful with maintaining a cohesive tone between the work I make as a photographer and as a director.
One thing about being a stand-up is it's a one-man show. You gotta do everything. You're the producer, writer, director, and the actor. You just gotta be out there and perform and give your all. It's such an honest form of art that it just taught me so much, and it kind of prepared me for manhood at an early age.
John F. Kennedy
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