A Quote by Christine Swanson
On a film set, we're all glorified troubleshooters, really, as directors. It's not if a problem arises. It's when.
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I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
I did a small, small thing in Quiz Show, where I was really just a glorified extra. But, you know, New York actor, few days on a film set: Great! I was probably making subway fare on the play that I was doing at the time. I always think of The Underneath as the first film that I ever did.
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'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.
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.
Peter Chelsom and Edgar Wright are totally different directors and worlds apart, but both really accomplished directors who are certain of how they want to make a film.
I'm not as savvy and knowledgable about all of the directors that are out there, but as a person, I'm really open-minded and love meeting new people and watching the way directors film and their perspectives and following their lead.
I knew I really didn’t look that good, and that Edward Weston had glorified me, but it was a very pleasant thing to be glorified and I couldn’t wait to go back for more.
There are a lot of female directors in Lebanon but we can't really talk about a true film industry, it's still very small. But we do have a few female directors.
I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.
A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.
For film, I audition just like everyone else, because it's a different set of casting 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.
The error arises from the learned jurists deceiving themselves and others, by asserting that government is not what it really is, one set of men banded together to oppress another set of men , but, as shown by science, is the representation of the citizens in their collective capacity.
Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.
There's no point in it unless it's a story that you really want to tell. It's a nebulous job. Unless you're doing it well, you're not doing anything. And there are a few of those. It's perfectly possible to be a passenger on a film set because if somebody else has written it, you can make nothing of that role and that's exactly what bad directors do.
