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For many years, my favorite director has been the Japanese giant Akira Kurosawa.
Voyeurism is a director's job description. It's an artist's, too.
'Dirty Rotten Scoundrels' is a good one because it not only turned out, I think, to be a really funny movie but it was also a delight to shoot. We were in the South of France, working with Glenne Headly and Michael Caine and Frank Oz the director - who were just fun.
I am a sensitive writer, actor and director. Talking business disgusts me. If you want to talk business, call my disgusting personal manager.
I am a very impatient director.
The ladder of success in Hollywood is usually a press agent, actor, director, producer, leading man; and you are a star if you sleep with each of them in that order. Crude, but true.
And I may often question choices I make as a producer. But I've never questioned the choices I make as a director.
'The Color Purple' is the kind of character piece that a director like Sidney Lumet could do brilliantly with one hand tied behind his back.
Every director bites the hand that lays the golden egg.
I've turned down jobs because I've said, 'Honestly, I can't find my way in. I can't do it. I love you, as a director. I think the script is good. You deserve better than I think I can do.'
In the re-creation of combat situations, and this is coming from a director who's never been in one, being mindful of what these veterans have actually gone through, you find that the biggest concern is that you don't look at war as a geopolitical endeavor.
And people say it all the time: 'You're a celebrity.' No, I'm an actor. I'm a producer. I'm a director. I'm a toad. I'm roadkill. I'm anything but a celebrity.
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.
Safety from external danger is the most powerful director of national conduct. Even the ardent love of liberty will, after a time, give way to its dictates.
I think every movie I've made after 'Indiana Jones,' I've tried to make every single movie as if it was made by a different director, because I'm very conscious of not wanting to impose a consistent style on subject matter that is not necessarily suited to that style. So I try to re-invent my own eye every time I tackle a new subject.
If the director says you can do better, particularly in a love scene, then it is rather embarrassing.
With 'That Awkward Moment', you could argue I'm just playing the girlfriend of Zac Efron, but the director was such a creative force and let me make her my own. I loved being part of something that felt so relevant and fresh.
And later I thought, I can't think how anyone can become a director without learning the craft of cinematography.
There was always a part of me that wanted to be an old-time director. But I couldn't do that. I'm not a pro.
I was not born a size 2. I'm not skinny, period. I'm not willing to sleep with the director or step on somebody else's neck to get the job.
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.'
It is only from the people I've had the good fortune to meet that I am learning the lessons to guide me. Baz Luhrmann, director of 'Moulin Rouge,' for example, has a childlike curiosity about the world. He doesn't pretend to know all the answers - quite the opposite, in fact. He asks loads of questions of everyone.
Of course I'm schooled in the old school method: taking what I think the director wants, then reworking it through my own brain and heart.
I would consider doing any part as long as the script is good and the film has an interesting director.
As I told the students every time I visited a campus, you are the director of your own movie, and if you aren't enjoying what you are doing, change it.
John F. Kennedy
Martin Luther King, Jr.
A. P. J. Abdul Kalam
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