Quotes 1 till 20 of 28.
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A lot of student directors used to pick other students to be in their graduate films, so. I ended up doing a couple of them just for fun. Eventually, I got an agent through a friend and I did some commercials; then I got Knots Landing.
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All film directors, whether famous or obscure, regard themselves as misunderstood or underrated. Because of that, they all lie. They're obliged to overstate their own importance.
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As an actor, I have casting issues. I'm a minority. I don't have trouble making a living, but as far as being on the food chain of the pecking order of actors, I'm not at the top of it. With the jobs that I do, there are always control issues with directors and producers.
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As animation directors, you're the first one on the film; you're the last one off, and you get to learn from and touch every department throughout the whole journey. I don't know any other job in the world that's like that. I don't think live-action is like that. It's a very different sort of experience.
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Bad directors are the ones who want to tell you every move, and think they're a better actor than you.
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Casting directors now just see me as the hard-core sniper or prison guard.
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Directors, producers can make you look good or make you look bad.
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Having an investor on your board of directors who is naive about public markets or finds them complex or scary is non-optimal.
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I think a lot of people have a vision of L.A. in which TV executives and movie directors plan their latest productions by the swimming pool.
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I'm a good actor in that sense for directors because I always do what they say.
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In N.Y.C., I auditioned for mostly 'quirky friend' roles. Since casting directors in L.A. lacked a preconceived notion of me, I was able to reinvent my type a bit, which was essential in booking the role of Amanda on 'Ugly Betty.' I don't believe I would have auditioned for that role in N.Y.
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It is absolutely my conviction, that Walter Salles will figure among the great directors of our time.
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Many plays, are like blank checks. The actors and directors put their own signatures on them.
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Most directors that I've worked with - I've worked with before, especially in Holland - and they know that I'm somebody who talks and asks, and talks, and talks, and talks and questions and turns things around. I'm like a little cat, walking around my little nest until I find my place.
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My big break was becoming the spokesperson for Texas Instruments. Casting directors really started giving me a chance to read for projects.
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My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.
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Producers are men who will keep their heads in the noisy presence of writers and directors and not be carried away by art in any of its subversive guises. Their task is to guard against the unusual. They are the trusted loyalists of cliche.
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Some directors have just one way of working; you either have to adhere to it or you don't.
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Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.
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Sometimes I get insecure about being a real director because I look at the great directors, and they have such command. But maybe that keeps me critical of myself. Maybe it keeps me moving forward.
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