Richard Marquand, on Jedi, was very much an actor's director.
I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.
The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
I think if I were asked to do as many as fifty takes, I would assume the director had no idea what he wanted, and was just hoping, eventually, to see it.
I didn't go into the theater to be a producer, I went into the theater to be a director.
Good is the director who lets you do what you have to do.
It's quite liberating to have a director stand beside the camera and say: "Do this now, and do that now. . . " It's also a bit sordid but it liberates an actor, I think.
I'm very excited about is that my son Scott is a director and he just finished his first picture. It's called "Lucky 13", it's a low budget picture, it stars Jeremy Dillon, Daryl Hannah and Jami Gertz.
As a first-time director in America, I feel I've been very fortunate.
Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.
When I'm making the movie, I absolutely do. I work so hard, and out of the raw material that is the script and talks I have with the director, the writer, I create, I hope, a very specific person who wouldn't have otherwise existed. However, do I then attach and hang on to the finished product? No. The experience of the creation of the character is what feeds me, what excites me, challenges me.
I love Ron Howard, he's a wonderful director, incredibly prepared. But I have to criticize my performance in that movie. It all took place in one day. My character was having a bad day, so she's having a bad day throughout the whole movie. But this was a comedy, and I think I was too serious, too dense. Yes, I think that describes my failure there.
If you see, as I do, in edited film, you're going to end up as a director.
The actor's physical type isn't and shouldn't be the main consideration. Does the actor look the part? It is the simplest question to deal with. The director deludes himself who yields to the temptation to believe that an affirmative answer settles the matter. An actor's looks will impress an audience initially, but after his first five minutes on stage it becomes aware of what he or she communicates (or fails to communicate) through acting!
Being a [bank] director is like being a pilot of an aircraft - it's years of boredom and seconds of terror.
The marvels of daily life are exciting; no movie director can arrange the unexpected that you find in the street.
Rewriting the negative beliefs you have learned is the essence of becoming the director of your life.
Sometimes if you're a director, you want to believe that you're great and capable at all aspects - the technical side, the lights, everything - but I'm not.
I didn't go to acting school, so it was great to be able to rehearse for a month or two, to workshop, and be with a director who even gave me acting exercises.
I stayed in Hamburg a few more days, and during that time I received a visit from Rolf Aldag, the sporting director at T-Mobile. He advised me to tell the truth.