A Quote by Stephen Chow
I like working as a director most.
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When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
I do have a sense of fear every day going to work, but I think it's something that I like. I mean I do like the feeling of waking up on my own, having this moment of like: "Oh, f**k, I hope I can do this today!" Because it makes you realise that you're working with material or you're working with a director or you're working with a cast and they're keeping you on your toes.
Working with Ram Gopal Varma is a great experience. He is such a wonderful director and no other director gives freedom to the actors like him.
I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.
I think if I wasn't a musician, I would be a high-school band director or orchestra director. I like working with large groups of musicians and bringing out the dynamics and accomplishing something as a team.
I've always noticed a difference between working with a director and working with a writer/director. In how much they're invested and how specific they are.
For me, it's not like I am going to look at the money the director's film has made before their film... For me, it is about working with the director whose work I have admired.
I like to adapt to a director's way of working. I love doing that. Each director is so different, and you have to adapt to this new way of doing something. That's what's amazing to me. That's why I love directors. I don't want to director to have to work around me. I think it's more fun for me to come in on their thing.
It was a fabulous experience shooting [in the Aviator], working with Leo [DiCaprio] and Danny Huston in the scene. It was great. I think what was most eye-opening about it was that [Martin] Scorsese was just like any good director you work with.
The thing I loved the most about being art director was picking the photographers and working with them.
Establishing mood through pictorial means is the director Ridley Scott's most notable talent. There may be no working director more accomplished at wringing texture out of the color blue than the prodigious and now prolific Mr. Scott; you'd swear that with his dazzling washes of blues and sand tones, he was inventing additional hues on the spot.
I pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.
Mel is a great director because he's not just a director, he's an actor, so he knows how to direct actors. I loved working with him. He's great as a director. He's so intelligent. He's generous. I really loved him.
On various shows, I've been the producing-director, the executive producer-director; and if you were working with the material you love with the right group of people, it's an incredible job to be doing.
If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.
I'm the type of actor that believes the director has to be in charge. I've been on sets where the actor's ego was the most important thing, and with a director that messes it up. But I don't like a dictator, I want it to be collaborative - the best idea wins. If I feel respected, and I'm going to give that back. If a director wants to try something, cool, I'll give it back. I also feel like they cast me for a reason, so I'm going to make my mark on it... let me do my thing.
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