A Quote by Ethan Hawke
I've turned down good directors before because I knew the part didn't speak to me and I've worked with less talented directors before because the part I had such passion for.
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I felt I knew Lugosi. Like him, I had worked for good directors and terrible directors.
That really sets great directors apart from good directors: their ability to make you feel like you matter, even if your part is much smaller. That's one thing I found with most of the great directors I worked with: They all have that skill. Not everyone takes the time.
There have been directors that I did not enjoy working with, but for the most part I realize that I have been unbelievably spoiled in my career because I have worked with some of the greatest, greatest directors ever.
I knew at the time that that wasn't the part I would be doing, they just wanted a screentest so they could have a look at it to show to the directors and producers. Then they wrote a part for me or maybe they already had it in mind, I don't know.
I'd worked with directors who wouldn't collaborate. Then I've also worked with directors who didn't really know what they wanted. I knew I didn't want to be either one of those guys - or girls.
When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.
I've worked at a Game Stop and had my service turned down before because of the color of my skin. And it's a shame.
I do like to work with young directors because it's such a difficult business that I think after directors have been around a while sometimes, not always, but sometimes their passion gets siphoned off because they get hurt.
Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'
I don't have any problem working with first-time directors because all directors have to start somewhere and all great directors have had a first film. So, if you take the view that you don't want to work with a first-timer, you might miss out on a fantastic opportunity.
I've worked with a couple of female directors now, and I think that they're amazing. As good or better than guy directors.
I place a higher value on work ethic than talent, because, in certain areas, you just need to cast, you need to cast actors with talent, you need to hire directors with talent, but I've worked with very talented people who have a poor work ethic, and the outcome is less desirable than people who are less talented and have an incredible work ethic.
It's strange - some directors are really talented but they can be so precious when it comes to letting you be a part of it.
The Coen brothers: Of all the directors I've worked with, they're the only ones who have given me the storyboards attached to the script. It was very cool for me, because I knew when I was in close-up or if it was far away, and it also made me know that anything that happened in the edit wasn't personal. Because they edit their own movies, so they were editing it as they went.
Yeah, I've worked with a couple of female directors, now, and I think that they're amazing. As good or better than guy directors.
Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.
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