A Quote by Richard Gere

[on editing of the films] There is always a question of time, and the director. I've worked with a lot of directors who don't mind my involvement. They appreciated it. — © Richard Gere
[on editing of the films] There is always a question of time, and the director. I've worked with a lot of directors who don't mind my involvement. They appreciated it.
I know that Madonna is not a first-time filmmaker, but I have worked with a lot of first time filmmakers and I have worked with a lot of inexperienced film directors so that never has particularly worried me - I find it quite exciting - but I have never worked with a director who has had so little experience of directing who was so prepared.
I've been working almost 20 years, and I think I've worked with maybe one black director of photography in that time. Maybe two women directors or DPs. Maybe. And I've done a lot of TV. That's a lot of people I've worked with.
I had worked for a lot of directors whose work I didn't respect, and as I was editing material, I was thinking about how I would have shot the scenes and what I would have done to make the scenes better. After several years of that, I got to the point that I was pretty confident I could sit in the director's chair.
I have worked with a lot of really great women directors: Ana Kokkinos; Cate Shortland, who just recently directed a film called 'Lore;' another director, Rachel Perkins - she's an Aboriginal director, and I've worked with her three times now, and she gave me my first film role, actually, back in 1997.
I'm trying to work only with established, respected directors. I took a lot of bad scripts and worked for a lot of lazy directors, and it was discouraging to go to the screenings and see that the director had added nothing, the editor had added nothing, there was nothing to see.
Marvel has this tradition, and I think that Sony has this tradition too, of hiring directors for Spider-Man who are dramatic directors. That are directors who are interested in human beings, in characters, in drama, and who are really good with actors. That kind of feels like a Spider-Man director to me. And because Spider-Man is always as big as the films that are being made at Marvel, it always is character and story. You can never take that out.
Increasingly, there's much better material on television, but there's not always the time and money to make it, so you've got to make sure you make it in the right place. It also depends on time commitment; a lot of directors will make a pilot, but a series is just a whole other level of involvement.
The biggest challenges are always getting into the rooms that you need to get into and having people open to the types of stories that I want to tell. And I feel that just being a female director and doing that is a big deal in this country. On my third movie I worked with a French DP. I asked him has he ever worked with a woman director before? He said in France a third of directors are women; so you can’t avoid them. So I realized that the US is behind.
My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.
A lot of directors, they don't go into the editing room during the shoot. When they come back, they've forgotten what they've shot. That's why their films come out a year after they shoot them.
I know the pleasure you get from making your films. The intense involvement in every aspect: the acting, the camera, the colors, the costumes, even the hair and makeup. Editing is thrilling. Everything to do with films is absorbing - everything but the money part, the business. But I'm deeply glad I've had that experience.
I've always worked with new directors. 'Pyar Koi Khel Nahin' with Sunny Deol, Anupam Kher's debut film 'Om Jai Jagdish,' and Niraj Vohra's 'Khiladi' were all first-time films.
I don't watch many films. I just make sure my directors are really good. I will work even with a debut director, but the one-hour narration of the script should be mind-blowing.
It's funny, I worked with a lot of directors in the many years that I've been doing this, and generally when you hear a director yelling on set, everybody scatters in the other direction.
I've worked with a lot of first time directors; in fact, I enjoy it because there is a certain beginner's mind that they bring into a project that isn't loaded with the way things have been done before. There's a certain freedom to it.
When I make films, I don't think of any other directors or their work in terms of the rhythm of the editing or the tenor of the performances.
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