A Quote by Spike Jonze
As a director, you never get to watch other directors work, and you also don't get to collaborate with other directors that much.
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As actors, we have the opportunity to work with many directors. Directors only work with themselves and other actors. They never know what it is like to work with another director. So that relationship that one has with a director is entirely always the king.
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.
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.
You never know as a director what other directors do. Because you don't get to see what they do.
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.
We always said that directors work their whole lives to get final cut on a movie. We have that. So why would you want to run away from what every other director is sprinting toward their entire careers?
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.
I'd worked with directors who wouldn't collaborate. Then I've also worked with directors who didn't really know what they wanted. I knew I didn't want to be either one of those guys - or girls.
When you're a writer in Hollywood, you don't get to work with other writers. You barely get to meet other writers. We're interchangeable, disposable pieces that never really get to collaborate.
Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
The director's who want to be innovative use the DVD as a tool to see what people have done in the past and you have other people who will actually take from better directors and that makes them better directors.
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.
I think you can study too much. I've seen that happen. Young people get immersed in the work of other directors and end up imitating them rather than finding their own identity.
The key is you don't want to control the controlled stuff too much and you don't want to be too free flowing in uncontrolled situations. That can be a contentious issue with some directors. The joy of my career is I've gotten to work with great directors who get that balance.
I think, there were probably problems with show business where producers and directors would try to get the writing credit also. So they created a rule where the bar, to get your name added to the writing credits, if you've done a revision, is very high if you're also the producer or director.
I don't like to work with directors who have taken an adoption from another script writer, because it's too much: one of them writes it and then has to explain it to the other, or maybe the director sees it in a way the writer doesn't want it.
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