Quotes 21 till 40 of 57.
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I'm a believer in trusting the director.
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I'm the first Icelandic director who started working on U.S. movies. There are others behind me now, but it's like when Bjork opened the door for Icelandic musicians to work abroad. We're such a closed-off country, but Bjork broke the spell. And I'm glad it was a woman who did it. She showed us we could break this barrier.
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If a movie doesn't even have financing yet, they'll do a table read for it at a casting director's office with actors, for the producer and the writer, just to hear if the movie is working.
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If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.
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If my favourite director gives me a role that is very sparkly? A very brilliant character? I'll do it.
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In 'Winter's Bone,' it's literally the director and the camera operator. That's it. Just a super-small Kubrick crew. You know what I mean? Like, 8 people.
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In feature films the director is God; in documentary films God is the director.
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In Hitchcock's eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
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In Kurdistan, there's a lot of hardship - a lot of wars, a lot of bitter and difficult lifestyles. And witnessing all those made me a director.
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In the studio the director controls the actor's every move, every inflection, every expression.
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It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.
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It was my band. I organized the band and Dizzy was in the band. Dizzy was the first musical director with the band. Charlie Parker was in the band. But, no, no, that was my band.
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It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
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It's easy to get jaded. It's easy to get lazy. It's easy to get too self-centric, like, 'Why me? What about my needs?' It has nothing to do with that. But you see, you are the thing you are selling whether you are a director or an actor in this business. It's very tough. The town doesn't realize that its greatest resource is its people.
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My musical director, Mark Cherry, is the most wonderful person who ever lived on God's good green Earth. He's my director, he does the arrangements. Really, he does everything - including certain janitorial chores!
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My sole inspiration is a telephone call from a director.
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Now I'm kind of established as a director, I much prefer directing to writing.
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Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.
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Part of the advantage, and part of the result of trying to be a producer and director, are the practical things, you find. It's so advantageous to go to a place that you already have a feel for, a literal and spiritual familiarity.
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Since stepping down as laboratory director in 1999, I have devoted an increasing fraction of my time to international issues. I am involved with energy, environment, and sustainability issues, particularly as they involve new energy sources free of greenhouse gases.
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