A Quote by Jack Reynor

I'll put it this way: with the kind of films that I do - creatively driven, with interesting directors and writers - I don't feel the need to work with the super established, top-tier directors that are out there.
When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.
When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like youre in the way.
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.
When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like you're in the way.
If I can do quality work with wonderful writers and directors and producers... that's the cherry on top.
The greatest thing about having done 'Orange' are the doors that have opened for me, and people have been able to see me, like the executives and the casting directors - also, all of the fantastic directors and writers for independent films.
I want to interact creatively with the directors I work with - it's a thrilling way to work.
I want to work with great directors. I've picked films based on the script or the character and seen them collapse because the directors were not strong visionaries.
I've read a hundred fantastic scripts that didn't pan out as films, and I completely put that on the directors. I've also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They're the storytellers. If you don't have a good storyteller, you really have nothing.
Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.
Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.'
Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.
Marvel has this tradition, and I think that Sony has this tradition too, of hiring directors for Spider-Man who are dramatic directors. That are directors who are interested in human beings, in characters, in drama, and who are really good with actors. That kind of feels like a Spider-Man director to me. And because Spider-Man is always as big as the films that are being made at Marvel, it always is character and story. You can never take that out.
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.
I find it kind of weird that directors want to put themselves in their films.
Definitely, I feel that there is a need for more female producers, directors, and writers.
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