A Quote by John Waters
William Castle and Alfred Hitchcock were the first director-personalities. Before then, nobody in America knew what a director was.
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Film works when a director and a star have a connection. You know, when there's something telekinetic between them, there's a partnership, it's like alter egos. It's like James Stewart and Alfred Hitchcock, or Fellini and Mastroianni. I'm not comparing, I'm just saying, if you can come into a relationship where the director and star have such a bond, it's so much easier to make a movie.
He was such a fabulous drama coach. What better person to have than Alfred Hitchcock? His work as a director was impeccable. I learned so much.
[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.
I worked with the best directors - Martin Scorsese, John Huston, David Lynch, Alfred Hitchcock. Alfred Hitchcock was great.
They know you're not Alfred Hitchcock, but you need to be enough Alfred Hitchcock for them not to be bothered by it. That's a reassuring thing.
In my mid-20s, I was directing episodes of 'Alfred Hitchcock' and 'Peter Gunn.' I was pretty much on course and - as I sometimes joke - was prepared to devote my life to become the second best film director in my family.
It's Toby Jones playing Alfred Hitchcock, not Alfred Hitchcock. We all felt that his silhouette was crucial, so his nose and lips were crucial as well. We had to build it out a bit to get the silhouette. But, with my nose being so small within the proportion of my face, the first nose was too big. I felt like a nose on parade.
We made 'Mickey and the Bear' with barely any money with a first-time director, a first-time director of photography, and a crew who had just graduated from NYU film school. We were all very much in this together for the first time. There's no famous actor or big explosions. It's not a Marvel movie. I thought nobody was going to see this film.
I had done it all in my career. I always felt, as a kid, that that's what a director needed to be. Hitchcock could do anything in my mind. He's the director. That person has to be the best actor, the best designer, the best cinematographer. Then I came to realize that isn't the case. You just need to surround yourself with the best.
David Boreanaz is actually a very good director and he directed one of our episodes. Excellent director, knew exactly what he wanted. We never had long days with David. He was great, he knew exactly what he wanted and he's a fantastic director.
It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
If I love the script and have a good rapport with the director, then first-time director can also be very special.
Sometimes when you're doing a comedy, the director will yell out "alts" and then the director gets the first laugh.
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.
Martin Scorcese is probably America's greatest living director, and while he is not a titan like John Ford or Alfred Hitchcock or Federico Fellini, he is certainly consistently more interesting than Steven Spielberg, Brian de Palma, Francis Ford Coppola or Woody Allen. Even a failure like Gangs of New York or a curiosity like The Aviator is more interesting and ambitious than Munich, The Black Dahlia or Scoop.
I've always laughed at the term "female director" or even "black director." A director's a director.
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