You hope and pray that you'll get involved with a director that you understand and who has the same sensibility as you do and knows how to push you and bring out the best in you.
Above all, a director has to be a good captain.
I've learned from every director I've worked with. Everybody's style is very different, and I always say that being an actor is the best film school that I could ever go to.
It is absolutely my conviction, that Walter Salles will figure among the great directors of our time.
I memorize my lines and I show up. I think it's just instinctual, and sometimes it's wrong and the director says, "No, do it this way. " And then I can change, because I didn't spend all night practicing it this one way. All I do to get ready for the day is the night before, I read my lines once or twice, memorize them, and then I show up.
There`s only one list that`s more illustrious than the list of directors who won the Palme d`Or. It`s the list of directors who didn`t.
I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.
Another mistake a director can make is not to be prepared, so you get there on the day to shoot the scene, and they don't know how it should be blocked, and they're not clear on how they want to do a scene.
I love doing big movies. It's awesome! You have all these toys. The thing I like about this movie is, like they always say, directors have the biggest train sets! Don't tell anyone, but I'd do this for free.
To the audience it doesn't really matter how much the director struggled with an actor. It's the result that counts.
I write mostly as a director. That's why my screenplays are very detailed. So I get into the images I see. I like that.
I trust work, directors - I don't live in fear. All good experiences have come from trusting the universe. There is no other way to live or love. Otherwise, you create your own prison.
When you work with a great director, you realise you are far from being a director.
It is very difficult to follow your own method all the time because you may crash against some directors who want from you something different. Trying to understand the material, who you're working with, and how can you fit in there. That is my approach.
I thought ['Sailcloth'] was a terrific script. Elfar Adalsteins, the director, is bound to be a director we'll hear from, and the whole thing was really enjoyable.
I had read too many memoirs that were written after the writer or the director was past his or her prime.
One thing I know is that I don't want to be a director for hire, making genre films.
Some directors cast you because they trust you to do the performance - but then they forget to direct you.
But in the UK, I've given up any hope of being considered a director.
There's a bunch of directors that I really admire, and Australian ones as well. It would be nice to do a film at home.