A Quote by Juliette Lewis

When I do a film, usually I work from my director. That's my boss. The director is interpreting the writer's vision, and we all interpret it, and they create their own vision as well.
Yes, I do bring something of my own to the plate. But I strongly believe that a film is a director and writer's vision.
I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.
In films, you have to follow the director's vision. Filmmaking is a director's medium. So everything happens as per the script and his vision.
As an actor, you've got to have faith in the director's vision, that the director has a vision for this that is greater than the critics say.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
An actor is nothing without the vision of the director. The director needs to have a vision that will cross boundaries, that makes the audience sit on the edge of their seats and that pushes the envelope.
I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.
My favorite part about costume designing is the artistry of the job. You meet with a director and a visionary to discuss ideas. You research the characters and figure out the components of their look through your own vision. You create a color palette for a film, television or stage medium and discuss it with the director of photography who then lights your colored subjects.
It does not feel any different being directed by a first-timer as long as I am convinced that the director is passionate about the film he or she is making. If you get a sense of their vision for the film and their aesthetics of your performance, then it does not matter whether you work with a new or an experienced director.
The first thing you do as a producer is you try to understand the director's vision in as deeply a way as you can. Sometimes, you end up with a director that has more vision or sometime they have less vision. You hope that they have more. In the case where they have more, you need to understand it in the deepest way you can.
If you have a vision or if you believe the director has a vision, then at least you've got something to talk about, something to try and head to and I think that's mandatory for every director to have to do a good job.
Every big-budget film is powered by a director's vision. I blindly follow the instructions of my director, believe in him, and deliver what he exactly wants from me.
Every director works differently but one thing's important: they must have a vision. If they don't have a vision I don't care how they work.
You have to accept that the moment you hand a script to a director, even if you've written it as an original script, it becomes his or her movie. That's the way it has to be because the pressures on a director are so staggering and overwhelming that if he or she doesn't have that sort of level of decision making ability, that sort of free reign, the movie simply won't get done. It won't have a vision behind it. It may not be your vision as a screenwriter, but at least it will have a vision.
A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.
As an actor, we can only do what the director wants. Only the director has a vision of the entire film.
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