A Quote by Denis O'Hare

Michael Winterbottom is one of the great directors of this century. — © Denis O'Hare
Michael Winterbottom is one of the great directors of this century.
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.
I remember feeling that Michael was extremely sensitive when it came to that moment. Most directors are and they usually rely, at least in my experience, on the actress to take over. And Michael is a gentleman.
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.
A life of very, very serious, po-faced films would drive me nuts. I need - and I'm fortunate to have - a fairly varied menu in that respect. I mean, I was shooting 'Mamma Mia!' at the same time as I was doing Michael Winterbottom's 'Genova'. That was a very, very bizarre summer.
I created my lane. No one can ever run my lane because it's mine. I'm the Michael Jackson of my lane. And you know, nobody was as great as Michael. I love Prince, but he's not Michael.
Bollywood directors are like cricketers where in one match you score a century, and in the next match, you are out for a duck! Moreover, very few directors are consistent in Bollywood.
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.
The 19th century was a century of empires, the 20th century was a century of nation states. The 21st century will be a century of cities.
Michael's great. He's everything you'd want Michael Keaton to be.
I have been interested in the 12th century since my 20s when it was very fashionable to say of anybody with whom you disagreed, which was basically anybody over the age of 30, "One of the great minds of the 12th century", and one day I thought, "I don't know anything about the 12 century." So I started buying books, reading about it, and I discovered it was a period of great flowering, it was a Renaissance before what we think is the Renaissance, the Italian Renaissance of the 16th century.
Michael Chandler's performance in his UFC debut was great. His opponent was great, but it felt like he was mentally unprepared to face Michael Chandler. He crumbled to his pressure and movement early.
The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.
I learned a lot from Clint [Eastwood], who's an extremely economic director. I learned a lot from Michael Winterbottom, who really gave a lot of trust in the actors and allowed them to live in the space instead of trying to manipulate and make it too set and too staged. Working with [Robert] De Niro taught me a lot of being an actors' director and what that is. I've learned a lot from pretty much everybody. Hopefully I've picked up something from everybody I've worked with.
Every single great idea that has marked the 21st century, the 20th century and the 19th century has required government vision and government incentive.
If the great story of the last century was the conflict among various political ideologies-communism, fascism and democracy-then the great narrative of this century will be the changes wrought by astonishing scientific breakthroughs
I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
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