A Quote by Gabriel Iglesias

As long as you have a director, that's your feedback. It's the director telling you, "Okay. That was great! Okay. Can we add a little? Can you tweak it like this? Can you make it more high pitched? Can you give it a little growl?"
There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.
I always try to stick to the script because I want to respect the writers, and I want to respect the director. But if the director and my fellow actors are okay with me playing with it a little bit, then I definitely want to play with it.
When a director is remaking a film, he should tweak it, add Bengali sentiments to it and make it look like a regional movie. A copy-paste job is something I don't support at all.
You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.
Very rarely have I worked with a director where we've been at odds. And by the time you've actually talked to somebody and you have the job, there's something that they see in you that they want you to bring to the character. And the best director says very little to you, acting-wise. They usually just say, "Okay, here's the shot." It's their job to do all that stuff, and your job's to do the acting. So it's very rare that somebody will say, "Oh, no. I conceived this very differently".
Im okay Im okay now. But you really need to listen to me 'cause im telling you the truth I mean this im okay Trust me... Im not okay ...Well okay im not okay. Im not o-f cking-kay
The biggest lesson I’ve learned is, “It’s okay.” It’s okay for me to be kind to myself. It’s okay to be wrong. It’s okay to get mad. It’s ok to be flawed. It’s okay to be happy. It’s okay to move on.
Sometimes a great director will do a bad job and an okay director will do a great job. You never know.
"You are the actor, and I understand we already had our sit down, you explained your concept, your view," so I said, "Okay, I'm in your hands." That means that if you've got to nudge me a little bit to the right I move to the right, just from the pressure, weight, but you won't have to touch me at all. You can come and go "Okay, you want me over here a little bit more," so no pressure on us at all that's easy to do.
It's [high school] an interesting time in your life because you're trying to act older and mature but you really have no idea what you're doing. You're scared and it's okay to be scared. It's okay to not know completely what you want or what you should be doing and to stumble a little bit.
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.
In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.
I had a friend who was a plastic surgeon, so he would do little things. I never had, like, a full thing. So I would go in maybe once every two or three years, and he'd do a little here, a little there; tweak you, like you tweak your car. Then I became the plastic surgery poster girl.
To be a great director, what does it mean exactly? It's not only about a great director, but also about being able to rely on the very special chemistry that goes between them. It not only has to be a great director, but the great director has to make his relationship to you, the actor, very special.
When you stand out there," John continues in a hoarse voice, "keep your chin up, all right? Don't let them get to you." "I won't." "Make them work for it. Punch someone if you have to." John gives me a sad, crooked smile. "You're a scary kid. So scare them. Okay? All the way until the end." For the first time in a long time, I feel like a little brother. I have to swallow hard to keep my eyes dry. "Okay," I whisper.
Die Hard 2 was okay. It was a little outside the template but it was okay, a hard movie to make technically. Did well at the box office. Successful.
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