A Quote by Peter Berg
I don't go to a lot of other directors' sets; directors don't come to mine. Directors are all very cordial with each other, but they're not necessarily friendly.
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It's not that writing staffs don't change at all, but they don't change very much. Directors are freelancers. There are directors who do five or 10 episodes of a show every year for years, but most directors are freelance, they come and go.
All directors are control freaks and very obsessive. I get the feeling that directors as kids, they all have had a childhood with not too much contact with other kids. They constructed their own reality and they continue to do it. It's a funny breed, directors.
Directors don't get to see other directors at work - they're the only one on the set. I've met directors who've asked me what another filmmaker is like. So, there's probably nobody better placed to make all the comparisons and to pick up stuff than an actor.
That really sets great directors apart from good directors: their ability to make you feel like you matter, even if your part is much smaller. That's one thing I found with most of the great directors I worked with: They all have that skill. Not everyone takes the time.
I can't imagine any director directing a screenplay of mine, because the great directors all have very personal styles, and the ones that don't are not very interesting directors.
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.
Most of the directors that I show my movies before the final cut, are directors that I admire, and who do movies that are very different from mine.
As a director, you never get to watch other directors work, and you also don't get to collaborate with other directors that much.
I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
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.
There are two types of directors: the directors who take and directors who give.
I don't think I have advice for female directors as opposed to male directors. I think all first-time directors should try and be as prepared as they possibly can, because it's hard!
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.
I don't really consider myself a female director, and I don't want to do so for other women. Female directors are just directors.
There are a lot of female directors in Lebanon but we can't really talk about a true film industry, it's still very small. But we do have a few female directors.
I love being on sets with very seasoned directors as well as very new directors. Every time is a discovery process. You learn something new every time.
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