A Quote by Edward Zwick
If a director is really a director, I think he's interested in more than one thing.
Related Quotes
I think the director is becoming more important. To work under rushed conditions, you need to have an extremely professional director. If the director's good than the end result will be good.
A strong film director does leave you to your devices. A strong director allows you to be free and you trust that he's there and he will tell you if you've gone too far. A strong director allows you to be much more experimental and take greater chances than a director who isn't secure within himself.
Oftentimes when I'm deciding to do a movie, the main thing is really, that I look at, is the director. I've come to feel that more and more. The more movies I've done and the older I've - the more experience I have, I always knew it was a director's medium, and I always said that.
I think that I'm a better speechwriter than my speechwriters. I know more about policies on any particular issue than my policy directors. And I'll tell you right now that I'm gonna think I'm a better political director than my political director.
It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
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 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 really value the skill and sensitivity of my collaborators, and I am really interested in - perhaps more so than if I was a male director - the hair, makeup and the textures of the fabric and the wallpaper.
The directing thing, to do it well, I think you have to have a hell of a lot more discipline than I do, or be a lot more willing to really take charge of whole large group of people than I feel comfortable doing - because a director really has to run everything, and be very confident in their ability to do so.
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.
It is one of the few elements in the process that a director really, really can't control: an actor's performance. If you have a director that understands that, it's comforting to an actor. You're starting the relationship more as a collaborator, rather than as an employee or some kind of a soldier trying to execute something you don't organically feel.
I thought ['Sailcloth'] was a terrific script. Elfar Adalsteins, the director, is bound to be a director we'll hear from, and the whole thing was really enjoyable.
I like to adapt to a director's way of working. I love doing that. Each director is so different, and you have to adapt to this new way of doing something. That's what's amazing to me. That's why I love directors. I don't want to director to have to work around me. I think it's more fun for me to come in on their thing.
I consider myself more a European director who is from Iceland than an Icelandic director.
I think the writer's quite low down in the hierarchy really. But the fact that they took the piss out of Nicholas [Hynter] who, besides being the director, is also director of the National Theatre is, I'd have thought, slightly more risky.
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