A Quote by Hans Zimmer
The main thing the composer needs to do is it needs to remember that the director is there to cheer you on. The director wants you to succeed because if you succeed, you'll be helping the film. And they are truly your conscience. And they're truly your guide.
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It all depends on the directors. Working closely with a director is the main job of a film composer. Interpreting what he perceives as a color, an emotion or mood is very abstract. A director tells you something he wants and then you have to run back...
Everything feels so personal when you're an actor because you're so open and vulnerable, and you have to trust your director to guide you to where the storytelling needs to go.
In Korea, the director has the final word. If the director makes a decision, that decision is final. In Hollywood, every decision needs to go through the producer, the studio, and sometimes even the main actor. There is a certain procedure that needs to be followed.
The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.
Be yourself. Forget about whether you are male or female and just work hard to become a director who truly knows her craft and the direction she wants the film to go. People respect a director for her work regardless of her gender.
Everyone wants to win. But to truly succeed - whether it is at a sport or at your job or in life - you have to be willing to do the hard work, overcome the challenges, and make the sacrifices it takes to be the best at what you do.
Make sure you are safe, and never ever put yourself in a compromising situation, but once that is checked off the list, I think it's really important for us to remember that someone needs us, and that your act of giving/helping/doing can truly become an act of grace once you get out of your head.
An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.
Stand in a way that you are always empowering people to join in, because the only way to be truly successful is not to succeed as an individual, but to succeed as a part of a community, of a country.
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.
There will be many times in your lives--- at school, and more particularly when you are a grown up---when people will distract or divert you from what needs to be done. You may even welcome the distraction. But if you use it as an excuse for not doing what you suppose to do, you can blame no one but yourself. If you truly wish to accomplish something, you should allow nothing to stop you, and chances are you'll succeed.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
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.
How can you succeed by helping others succeed? We succeed at our very best only when we help others succeed.
Flood your imagination with vision... if your deepest needs, values and internal beliefs agree with your direction, then you're more likely to succeed.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
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