A Quote by Ava DuVernay

For female directors, there's a whole other set of things we have to think about, particularly when we are casting men, because there are some actors who have never been directed by a woman. Crew members, too.
I have my set rigged with the biggest sound system possible and have a mini jack for my iPod attached to my director's chair. I find playing music is a very direct way to communicate with actors and the crew, especially those crew members who are on the periphery of the set. I like dancing on set too, it's a good way to release tension.
One of the great things about this cast is that we've been able to take actors of relatively the same age group that would never usually meet. You know, like bridging the comedy/drama world that for some reason casting directors never really want to bridge or you get into one community and that's kind of it.
The cinema I particularly love is the cinema of the golden age of the studios in the 1930s. One of the really nice things about it was the way teams of actors and directors and crew people worked together again and again.
If you work in casting, it's sort of not cool to want to act. A lot of people think that casting directors are frustrated actors, but it wasn't true with any of the casting people I knew.
Most actors who direct do it because they've been directed by so many bad directors.
Sometimes I wonder if I would've been more successful if I wasn't acting and I concentrated on other things. But I love being on set. I love working with my 100 crew members.
No, I don't think it is required for casting directors to be actors too. My mentor Gautam Kishanchandani cannot act to save his life!
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 do believe female directors, as well as our female writer, can bring out male vulnerability that some men can't because they can't face it.
I think it's very important to recognize talent in all facets of filmmaking. Making a movie is such a lengthy and intense experience, so it's wonderful to honour actors, directors, producers and all crew members who put so much hard work and passion into a project.
I work with big directors. I work with good actors. I act in female-centric films. And I do all this without ever indulging in a casting couch experience. Because I believe in hard work, talent, and blessing.
I worked for 20 directors as a production designer, most male. I was on the set to witness firsthand a range of sometimes atrocious emotions - well-documented firings, yellings, fights between directors and actors, hookers, abusive things, budget overages, lack of preparation. A man gets a standing ovation for crying because he's so sensitive, but a woman is shamed.
I think film is a world of directors. Theater is a world of actors. Or, theater is for actors as cinema is for directors. I started in theater. Filming is as complete as directing film. In theater, you are there, you have a character, you have a play, you have a light, you have a set, you have an audience, and you're in control, and every night is different depending on you and the relationship with the other actors. It's as simple as that. So, you are given all the tools.
I know that some actors and directors like to have intensity on set. I don't, particularly. Certainly, if they want that, that's fine, but I can't work like that.
One of the things we learn in movies directed by men is what the 'fantasy woman' is. What we learn in movies directed by women is what real women are about. I don't think that men see things wrong and women right, just that we do see things differently.
Many casting directors won't hire aspiring actors because you might be burning some chick's headshot under the table so she doesn't get the part.
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