A Quote by Vincent Cassel

I worked with young directors all my life, only young directors. — © Vincent Cassel
I worked with young directors all my life, only young directors.
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.
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.
'Skins' had been a brilliant breeding ground for young actors, young directors and young writers. It was a safe environment to experiment; it tried new things, and it was an amazing time and amazing to be part of it.
I felt I knew Lugosi. Like him, I had worked for good directors and terrible directors.
Directors don't get to see other directors at work - they're the only one on the set. I've met directors who've asked me what another filmmaker is like. So, there's probably nobody better placed to make all the comparisons and to pick up stuff than an actor.
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 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.
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.
I like to work with talented people, I must say that. That's my weakness. I really like to work with good directors. That doesn't mean I don't like to work with starting up young directors, that's fun also.
I can say yes to some directors without even reading a script. But the first-time directors I've worked with, the scripts have not been perfect, but they had something that I liked.
After 50 years in the motion picture business, I'm still learning my trade. This recent shoot of 'Mandie and the Secret Tunnel' was a revelation. The two young directors, Joy Chapman and Owen Smith, represent a group of actors, directors, and cinematographers all over the country that never show up in New York or Hollywood.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
As you're growing up, it's odd, because directors don't expect you to grow up. They think you'll be young forever, but as an actor, there is an awkward period when you're too young for old or too old for young, and it can be an odd time.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
I have worked with top directors like Rajamouli and Vinayak and with upcoming directors like Vamsi.
There are two types of directors: the directors who take and directors who give.
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