A Quote by Elia Kazan
A good director's not sure when he gets on the set what he's going to do.
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I think the whole nostalgia for the forty year gap for [Sylvester] Stallone was bigger than the movie [Creed], but it's good because the movie still gets recognized with Stallone's involvement. I'm sure the director [Ryan Coogler] is still proud of his film, but it's very hard to nominate a director.
The logistics of blood is something that I didn't even understood as a first-time director. Not just actors and make-up, but once a set gets bloody, you don't un-blood it. Once something gets bloody, you either rebuild the set, or you just don't get the shot.
All I wanted to do was be a professional film director with a body of work, and you're going to make some good films, some bad and some indifferent. You don't set out to make a dog, you set out to make something good. But I like them all.
It's a terrible mistake when it gets to be a contest of egos. The actor is always going to win. If a director gets into a control situation and is overbearing, it's deadly.
When it gets going bad and it gets going to where all these things are happening around you, the thing that stands out most is your character. You have to make sure you keep your character and your wits about you, because at the end of the day, it might be bad for a little while, but if you're a good coach it all works out.
A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.
I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him.
When the going gets tough, I'm not always sure what you do. I'm not saying that I know how to fix everything when the going gets tough, but I do know this: when the going goes tough, you don't quit. And you don't fold up. And you don't go in the other direction.
I was concerned about who he would put in there as FBI director because he had expressed antipathy for the FBI, for the director. I was going to stay there and make sure that he couldn't replace me.
I kind of joke with myself that you shouldn't be able to be a creative producer if you weren't a first AD. Because it is such fantastic training for really understanding what everyone does, and how the movie actually gets made. You have to know if you're the first you're kind of the set general, you're at the director's right hand, you know everything about how a director puts a movie together, you know everything about how a movie gets made.
Being on a set where the director has lost control is just sickening. No one goes the extra mile, there's a lot of eye-rolling... it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.
Being on a set where the director has lost control is just sickening. No one goes the extra mile, theres a lot of eye-rolling... it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.
Your own barometer is all you have to go by, and often what makes a good director is knowing when not to say something. On occasions you can find yourself on a film set where the person who is wearing the director's hat is only trying to justify his position.
As an actress, nobody is sure these days whether something is going to be successful or not. I tried to always have a good time on set because of that reason. Even if people didn't like it, at least you had a good time.
I usually work with the director and it's just a collaboration between me and the one person. I think you make good movies that way. If the director and the composer can have this common goal and this excitement about making something great, then you're going to do something good.
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.
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