A Quote by David Heyman
I don't think you can be a director without a kind of sense of competitiveness.
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Your actors need to trust you as a director, but normally, I think you just need to have an open communication between the actors and the director. I think the director needs to really paint his or her vision to the cast and let them know the kind of mood that he or she is making. I think that's very important.
I don't think of myself particularly as a Scottish director, but you are what you are because the first ten years of your life, and where you spend them, brand you. In that sense, I'll always be a Scottish director.
I guess whatever the director's energy is is kind of contagious on set, because, um, you know, it's a hierarchy, and we're all kind of looking to the director for guidance.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
The director's job should give you a sense of music without drawing attention to itself.
I think that the secular work environment in general is a place that's challenging for Christians to thrive in without getting caught up in materialism or in competitiveness or in things that are really not important.
The notion of the competitiveness of countries, on the model of the competitiveness of companies, is nonsense.
I think 'director' is a very broad term. I like to think of myself as the head collaborator, not the director, because I think, for a lot of people, 'director' connotes giving orders and telling people what to do.
With 'Moreau,' it's been particularly confusing because I started out being the writer of the screenplay and then trying to be the director, then being moved from being the director and having to become the dog extra, it makes some kind of sense to suddenly become a character in the story.
Competitiveness that I've had as a player, competitiveness that was pointed in the wrong direction and went over the line. It's obviously something that I needed to work on and address.
I don't really think I have the personality. I am not very external. I don't want to dance on the table and do impressions. So I think that the way I approach it is really loving story. That's my first love - the words. The words and the story and how to create images. I guess I come at that as a director. I think that's much more in my personality to be a director, so that's kind of informed my acting.
'Analyze This' is a good movie because Robert De Niro and Billy Crystal are really good. But without the material to put on the play, of course, they couldn't be good. For me, it starts with the writing. I always think that the writer is doing the vast majority of the director's work, in a sense.
I probably went into sports with a sense of competitiveness and came out of it even more competitive.
In the 20 years before Greece end up with the Euro, efforts to improve competitiveness through exchange rate and adjustments resulted only in temporary gains of competitiveness.
Compassion being action without motive, without self-interest, without any sense of fear, without any sense of pleasure.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
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