A Quote by Jeffrey Dean Morgan

The directors you want to work with are in the television world. — © Jeffrey Dean Morgan
The directors you want to work with are in the television world.
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.
I'm not saying I only want to work with female directors. But I want to continue to work with emerging female directors.
I want make more records with my sister. I want to go on the road. I want to tour around the world. I want to continue to make great films and work with incredible directors that I respect and look up to.
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.
Television in America is so elaborate. There are so many remote cranes, and they have all the toys to play with. The directors are really good. They really work with you. So, I'm not really on set thinking, "Oh, my God, this is television. It's very different."
I think that what 'Oz' did is it spawned a great generation of television production. But people know its place in television and just in great dramas. It's the foundation of my career. Most producers, show runners, directors, and casting directors put me in movies based on my performance in that show.
Most Chinese filmmakers grew up watching television; they watched films on television, not in cinemas. The scope of their vision is not big enough, they're not yet detail-oriented enough. You have to watch films in cinemas for years to understand the depth and scope of vision needed in filmmaking. Directors in China usually come from an academic background; they graduate as film directors. Whereas the directors from Hong Kong learn their trade on sets, beginning at the lowest rung.
The key is you don't want to control the controlled stuff too much and you don't want to be too free flowing in uncontrolled situations. That can be a contentious issue with some directors. The joy of my career is I've gotten to work with great directors who get that balance.
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.
What I want to do is create great content on television and movies. It is not my role to program only for Latinos, and you can't really assume that Hispanics only want Hispanic content. But I do think that we are severely underrepresented in television and film. And instead of complaining about not seeing ourselves, we should become film producers, directors, and writers, and tell our story.
I've really enjoyed my work in television, but the problem for me is the turnover of directors every week.
I've never worked in the U.K. television industry, but my guess it that it's a tough world for directors.
There's a lot of great stuff on television and that's very appealing to actors who want to work, who do good quality and high quality work. But you're always concerned that the time demands on television will interrupt or interfere with your film work.
The world went tilted in a lovely way - suddenly, television was no longer television. It was like, 'Oh, my God, this is the new world!' I got to work with horses and cannons, and fight sequences and castles.
I always want to do something I haven't done before and get to work with other actors, writers, or directors that I want to work with.
I would really like to focus on directing features, and then eventually take that skill set back to television. On features, you have more control. On television, the producers are the creative forces behind it. Directors come and go on television.
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