I really like the director [for Weeds]. I don't know if you've spoken to him yet but he's really, really intelligent. He was just really kind when I met him and nice and really told me why I should play the part. . . and kind of really didn't argue with him. He's just really, really smart and assembled these really great people. I felt like he really knows how to enlist his intelligence to get you - I don't know - he's really hard to argue with I find.
I wanted to be a film student again, as a man in my 60s. To go someplace alone and see what you can cook up, with non-existent budgets. I didn't want to be surrounded by comforts and colleagues, which you have when when you're a big time director. I wanted to write personal works.
I've never had help from anyone, ever. I've never had this great director who saw themselves in me, because I'm a French woman in Hollywood. Who could identify with me as a successful director in Hollywood? Nobody. And the few people who could have been mentors, instead they just stole my ideas.
In a rehearsal room, your real resource as an actor aren't the things around you; your resources are your imagination and your director and the other actors. In those close quarters, your imagination and your skills are what you turn to.
As a director, I try not to implement a way for working, for every single actor, across the board. I try to work with each one, on an individual basis.
The director, Moisés Kaufman, just received the national medal of the arts from President [Barack] Obama. He wrote and directed The Laramie Project and he has directed several Pulitzer prize-winning plays. He's a pretty profound director in the theater.
As a director, I wouldn't like me as an actor. As an actor, I wouldn't like me as a director.
A lot of the music editing job is communication and working out what a director really wants the music to be.
I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman, What he has left is a legacy greater than any other director. . . . I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that he probably did more than anyone to make cinema a medium of personal and introspective value.
I realized the exciting place was behind the camera with the producer, director and so on.
At best, I think of a director as a magnet. You get all the metal fillings in all the individual actors and crew, and get those filings moving toward your magnetic direction.
As a director and an actor, I encourage improvisation but in character and in the moment of what it is.
If you're sounding right, you're probably walking right, and vice versa. If you get the footwork right - if you get even one line right in a rehearsal, the director will say, do you know when you said that, it was exactly the character. You were - really landed on it.
I'm not a Hollywood director. I'm an in spite of Hollywood director.
Virtue needs a director and guide. Vice can be learned even without a teacher.
The director is simply the audience. His job is to preside over accidents.
Some friends of mine who are actors feel directing shuts them down and kills all their impulses, but the worst thing for me is if I feel a director hasn't noticed.
The best thing about switching from being an actor to being a director is that you dont have to shave or hold your stomach in anymore.
I'm ex-player, ex-technical director, ex-coach, ex-manager, ex-honorary president. A nice list that once again shows that everything comes to an end.
I would love to get great performances from actors as a director, because that's what I'm always looking for, a director that's going to help me go places I've never been before.