A Quote by Alexandre Desplat
The great directors, I've learned, have a great sense of rhythm.
Related Quotes
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.
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.
I get to play a great character while working with great actors and great directors on a great show.
I'm a great believer in conversational rhythm. I think in terms of rhythmic dialogue. It's so easy, you can talk naturally. It's like peas rolling off a knife. Take the great screen actors and actresses, Bette Davis, Eddie Robinson, Jimmy Cagney, Spencer Tracy. They all talk in rhythm. And rhythm and movement are the life of the screen.
Behrens had a great sense of the great form. that was his main interest; and that I certainly understood and learned from him.
I find that all great directors, and I would include Ben Affleck and Clint Eastwood in that, they have great confidence. And with great confidence comes great freedom for the actor.
You are different from the really great man in only one thing: The great man, at one time, also was a very little man, but he developed one important ability: he learned to see where he was small in his thinking, and actions. Under the pressure of some task which was dear to him he learned better and better to sense the threat that comes from his smallness and pettiness. The great man, then, knows when and in what he is a little man.
I love Jimi Hendrix obviously, and Jimmy Page and Prince. And also Elvis Presley is a really great guitar player. I don't think he ever took lessons; he was piecing it together himself. But he has great rhythm. And rhythm, to me, you can use it to your advantage if you're not all over the fretboard.
All life requires a rhythm of rest. . .
There is a rhythm in the way day dissolves into night, and night into morning. There is a rhythm as the active growth of spring and summer is quieted by the necessary dormancy of fall and winter. There is a tidal rhythm, a deep, eternal conversation between the land and the great sea.
You could name the great stars of the silent screen who were finished; the great directors gone; the great title writers who were washed up. But remember this, as long as you live: the producers didn't lose a man. They all made the switch. That's where the great talent is.
You start out with big dreams and I mean, big dreams artistically. You want to work with the greatest living directors, make a great movie. I wanted to make a great love story, I wanted to make a great epic and then you realize that the truth of it is that it's so hard to make a great film. It's hard to get a great role. Those big expectations change to realism pretty quickly. But what's never changed is my desire to work with great directors and to find projects that push me out of my comfort zone and keep me alive. I still don't think I've done my best work
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
Roles came to me. I was very, very lucky in that respect. Great directors, great writers, great producers - they saw something in me that they wanted for their picture or their play or whatever it was, whether it was Edward Albee or whether it was - or Peter Hall, directors. They would come to me, thank God. I was lucky. Lucky, lucky, lucky.
Of course I am a child of European culture. There are a number of great directors from which I learned, but there is nobody in particular I got inspired from.
I have a suspicion, because if you look at the whole, all the [Star Wars ] movies, the backlog of every one of these movies, there's a lot of great stuff, but one might not be not as good with the writing in this or the acting in that or the directing in that, this has great actors, great directors, great script, and I really feel like we're gonna make the best one [movie with Young Han Solo].
I think that what 'Oz' did is it spawned a great generation of television production. But people know its place in television and just in great dramas. It's the foundation of my career. Most producers, show runners, directors, and casting directors put me in movies based on my performance in that show.
Related Authors
Andrew Lloyd Webber Quotes
British
Composer
Anu Malik Quotes
Indian
Composer
Henry Mancini Quotes
American
Composer
Igor Stravinsky Quotes
Russian
Composer
Johann Johannsson Quotes
Icelander
Composer
John Cage Quotes
American
Composer
John Walter Bratton Quotes
American
Composer
Krzysztof Penderecki Quotes
Polish
Composer
Ludwig van Beethoven Quotes
German
Composer
Michael Giacchino Quotes
American
Composer
Pauline Oliveros Quotes
American
Composer
Ramin Djawadi Quotes
German
Composer
Richard Wagner Quotes
German
Composer
Ryuichi Sakamoto Quotes
Japanese
Composer
Stephen Hough Quotes
British
Composer
Stephen Sondheim Quotes
American
Composer