A Quote by David Prowse

As a director he was not that interested in Vader. — © David Prowse
As a director he was not that interested in Vader.
I don't think it's fair to compare Dick Cheney to Vader - it's unfair to Vader.
I was in love with Darth Vader. He was extremely sexy to me. Once I had almost a sexual dream about Darth Vader. At the moment he was about to pull his helmet off, my husband woke me up and I was so annoyed. I told him, "I was on my way to kiss Darth Vader."
I always liked Darth Vader. I remember, when I was a kid, I went to the toy store for the Darth Vader pencil case. I took that to school for years.
I don't want to make a comfortable film. I'm not interested in that. I'm not interested in answering people's questions; I'm interested in posing questions. I'm interested in sparking a conversation between two people about what something means. That's enough for me, as a writer and as a director.
In three hundred feet, turn right," Darth Vader said. The Darth Vader. I felt like we were friends now. Like I could tell him anything.
I was dressed like Darth Vader. Vader was my man, even with the villainy. He wore all black and had a deep voice; he reminded me of my uncle. I had a cheap mask-cape combo, the kind available at any pharmacy during October.
If a director is really a director, I think he's interested in more than one thing.
For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.
I pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.
I find that the projects I enjoy signing up to at the moment are with a director who's interested in the script - isn't completely sure what the movie is and isn't concerned about it. He's just interested in going on the journey and discovering it.
The difference between an experienced director and a new director is not as big as the difference between individual directors, the temperament they have, and the things they're interested in.
In my case, when you dive into a role, to do well and for you to do well in it, you have to put an enormous amount of faith in the director. But you also have to decide you're so interested in the material, this director, his work, and his process, that you don't care about the outcome.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
I'm not interested in the director's commentary stuff. I think that stuff is really boring. And, if the director explains too much, it takes a certain mystery away from the interpretation that is very important for the audience to have. The audience should have their own interpretation.
I've always laughed at the term "female director" or even "black director." A director's a director.
I don't want to infantilize the actor; I want to empower the actor. Actors can be many things, but all of the really good ones are really great storytellers, and I'm interested in that. If you're not interested in that as a director then you better be Stanley Kurbrick.
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