The director is the only person who knows what the film is about.
What you feel is important may not be what the director feels is important.
I think coming off of "Blame", I've been talking a lot about directing. It's something that I really love and connect with. I truly consider it what I was born to do. That kind of loops in with filmmaking on the whole, because when you create something, you're also wearing a lot more hats than just director. At the same time, I also think acting is something that's very powerful in my life.
To the audience it doesn't really matter how much the director struggled with an actor. It's the result that counts.
Director Michelle MacLaren is the John Cage of this malevolent silence, able to wield it as precisely as a pointillist with a paintbrush. And with 'To'hajiilee,' the final episode of Breaking Bad she'll ever direct, she has painted her masterpiece. Under the unblinking eye of her relentless camera, this was television not as entertainment but as endurance. It was agonizing, nauseating, unbearable. I loved every minute but hated every second. I couldn't wait for it to be over but I never wanted it to end. And I especially never wanted it to end like that.
The director has to win, because you should never force a director to shoot something they don't believe in.
I became, and remain, my characters' close and intent watcher: their director, never. Their creator I cannot feel that I was, or am.
I know, as an actor, I don't like sharing everything with the director. And it's fine if they don't with me.
I don't think I'd be a good director because people would ask me, you know, "What is it? What's going on here? Where should I put the camera?" Or, "What's my motivation?" And I would say, "Do whatever you want!"
In 'Beowulf,' director Robert Zemeckis uses a technique called 'motion capture' to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn't mastered and what the technique can't do is this: emotion capture.
I had great luck with Tim McGraw twice in 'Friday Night Lights' and 'The Kingdom. ' I love finding off-beat casting and finding someone you know in one way and you reinvent them in another way. I like doing that as a director.
As a director, you have to go in with a really, really, really clear picture of what you want. That's the point of my commentaries. It's so difficult because you're the harshest critic.
I think every movie is its own little world, and a director certainly sets the tone.
I've been writing so much. And what happens with TV is that they split [Taboo] into two blocks, so you get a director that does four and another director that does another four. You commit yourself to seven days a week, for 12 or 13 hour days for a long time. I couldn't really do that.
For any director with a little lucidity, masterpieces are films that come to you by accident.
I don't need to work right away. I'd rather wait for something really good; to be excited about a role, or a director, or a project.
I think when you make a movie, one of your main focuses as a director is to inspire everyone else to give their best. Like manipulation.
I'm a writer and director, and the movie I've seen a million times is 'Stardust Memories' by Woody Allen, starring Woody Allen and Charlotte Rampling.
I've enjoyed my time in the game, whether it be managing Luton in the top flight, taking Spurs to Wembley or, as director of football, pinpointing players such as Jermain Defoe, Paul Robinson and Robbie Keane with real sell-on value.
In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.