A Quote by Kevin McDonald

Yes, they allowed us to play around a lot because, like we said, the director's such a good comedy director. — © Kevin McDonald
Yes, they allowed us to play around a lot because, like we said, the director's such a good comedy director.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
Very often, it's the director that I'm attracted to. If it's a really good director, I don't even have to read the script to say yes.
I think 'director' is a very broad term. I like to think of myself as the head collaborator, not the director, because I think, for a lot of people, 'director' connotes giving orders and telling people what to do.
It is true that I got recognition. But however good the comedies are, nobody will accept a good comedy director as a good director. That is the sad part of it. Nobody knows who directed the 'Laurel and Hardy' movies. They know only Laurel and Hardy. Directors will never get a good name if they direct a comedy film.
I think the director is becoming more important. To work under rushed conditions, you need to have an extremely professional director. If the director's good than the end result will be good.
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.
With Halloween, the director was this genius wonder boy who was the writer, director, producer, along with his girlfriend. They were this team, and they were making this small movie, and it was just completely different, but it was really inspiring and a lot of fun, and also allowed me to do a lot of improvisation, because they just depended on the girls to expand their parts to bring some real life, being girls ourselves, to the characters.
In order to be a good director, you also need to be a good entrepreneur because the director is in charge of everything and everyone on the sets.
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.
I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.
I've always laughed at the term "female director" or even "black director." A director's a director.
We're not allowed in the cutting room - and that's extraordinary. So, when a director is asking for certain nuances and colours and we feel that they're phoney, but we do it because the director asks for it, that's the one that they pick in the cutting room. And I contend that when you see a movie with bad acting, don't blame the actor... blame those guys in the cutting room because they like that take.
There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.
Richard Lester is a wonderful director, a great comedy director, of course.
I didn't want to be around anybody because it was just too much for my brain. But, as an actress, you hope you get those meaty roles that push you into the extremities of that psychology. I like doing independent films because there's more room for you to be creative, and the director allowed me to just go wherever I needed to go. It was emotional. I had to cry a lot.
A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.
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