A Quote by Jennifer Connelly
I pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.
Related Quotes
I like to adapt to a director's way of working. I love doing that. Each director is so different, and you have to adapt to this new way of doing something. That's what's amazing to me. That's why I love directors. I don't want to director to have to work around me. I think it's more fun for me to come in on their thing.
I am a very spread out type of director as I just love working in all of these different worlds; I go from commercials to music videos to art projects.
Each director is different. Clint Eastwood and Chris Nolan are completely different, and I need to adjust to the story and character and the director and just my duty as an actor.
The director is responsible for interpreting the playwright's work through the cast with the help of the staff. It is the director's artistic concept of the play that the cast, staff, and crew work to obtain.
From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.
When I'm choosing projects to be a part of it's always a combination of so many different things. The primary thing is the director. But a very important element is, is it different enough from anything else I've ever done, or what I've last done.
I know know why ... if something not broke, don't fix it. Twelve Angry Men was the perfect movie. The cast was just the best cast you could possibly get together. The director was Sidney Lumet, the best director around. So why they made the remake I don't know.
For Mike Mills, I learned that having dance parties and crying with your cast does not make you a weak director, it makes you a strong director.
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
You pick projects for the part, the director, and the script. I just want to do different, interesting stuff.
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
What a director does... essentially, it's storytelling, but a director also controls the feeling and the sounds and the texture. It's an act of creation, like a symphony or a painting or a story. But with different tools.
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.
'Hanna' was nice. It was Saoirse Ronan's idea. Usually, the director casts the actor, but in this case, the actor cast the director.
Any director who comes into a revival owes a great deal to the original director. If I know the backbone works, it gives me, as a director, much more freedom to bring something new to it or try something different.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
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