Pretty much, the writer's in charge in theater. Of course you're in charge with the director, but no one can change your words. People can give you notes, but you don't have to take them. In Hollywood you take them and you cash your check and that's your job. It's very different.
It's not my job to try and alter the director's style - he's in charge, and I'll always give him my trust.
It's hard to conceive that it would take more forces to provide stability in post-Saddam Iraq than it would take to conduct the war itself and secure the surrender of Saddam's security forces and his army. Hard to imagine.
For a man is a little lower than the angels, yet was made that he might become the companion of the Creative Forces; and thus was given--in the breath of life--the individual soul, the stamp of approval as it were of the Creator; with the ability to know itself to be itself, and to make itself, as one with the Creative Forces--irrespective of other influences.
It's the reality: film is a director's medium, and, ultimately, they are the ones that are in charge, and you have to respect that because somebody has to be in charge. But, yeah, you do reach a point where you want to have your voice come out.
The road itself is informative, because it forces you to respond spontaneously and to encounter the unexpected. It forces you to reassess what you felt about people or issues or places, and it forces you to live in the present.
The Secretary of Labor is in charge of finding you a job, the Secretary of the Treasury is in charge of taking half the money you make away from you, and the Attorney General is in charge of suing you for the other half.
Unless the people, through unified action, arise and take charge of their government, they will find that their government has taken charge of them. Independence and liberty will be gone, and the general public will find itself in a condition of servitude to an aggregation of organized and selfish interest.
I learned that you have to say that you're a filmmaker. You're not a screenwriter; you're not a director for hire. You've got to take charge. You're a filmmaker, and you're going to make a film.
The director's job should give you a sense of music without drawing attention to itself.
Originally a record producer more or less hired a bunch of professionals to participate in a recording session, the performers and the technicians, and a music director was put in charge. That directly related to a film producer's job.
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.
For me, I never take a job thinking it's going to grab ratings or that it's even going to be a success. I don't. I just take the job because I love the character. Or I love the script. Maybe I love the director. But whatever I do, I never think about how it will do. That is not in my hands.
My only real job is to play well and do my job on the field. If I do that, all the other stuff will take care of itself.
I think you take a job, you owe it as much passion as the job itself demands. And most jobs demand that you be totally committed.
The director is simply the audience. So the terrible burden of the director is to take the place of that yawning vacuum, to be the audience and to select from what happens during the day which movement shall be a disaster and which a gala night. His job is to preside over accidents.