A Quote by Steven Berkoff

I like a lot of international people. Julie Taymore, the American director - she's one of the most exciting directors I've seen. — © Steven Berkoff
I like a lot of international people. Julie Taymore, the American director - she's one of the most exciting directors I've seen.
A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.
For me, the most exciting thing is that Jane Campion is a woman we can all really look up to. She doesn't have the body of work that some other directors do - no woman director does - but her work is so consistently original, wonderful, masterful.
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 very old-school. I like a director to direct me. I like to be the actor. I'm not particularly fond of the hybrid writer-director, or actor-director. Writers, directors, actors are all such very different people. I think it's unusual that two of those people are in one human.
I hate to sound like Julie the cruise director but it's people that I think about all the time.
I found out my baby was visiting Julie Chen a lot, from 'The Talk', and my nanny was just like, 'Oh yeah, that's Julie. We pop in on her all the time.'
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.
Farah ma'am is so technically strong. She is such a good director and one of the most fun directors.
I've talked to a lot of directors who direct solo like most directors. And they're always like, 'Oh, man I wish I had somebody I could direct with because it's a lot of work.'
Julie Taymor. She is my gold standard of stage directors. I think she has a comprehensive knowledge of theatrical form, since she lived in Indonesia, Java, Japan and France. Her knowledge of form is limitless. Whenever I get painted in a corner, I think about what form she would use, because that is what she practices. It's about accessing the theater traditions of the whole world.
The most exciting thing I've seen is directors not only being open to actors coming in the room with different abilities but actively looking at ways that the story can be enlarged with disabled actors.
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.
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.
Every director's so different. Everybody has their own modus operandi and I love getting to know different directors in the way they work. David O. Russell is very exciting to be with because he's got a mind like quicksilver.
I feel like actors, having spent a lot of time on movie sets, tend to make decent directors, because they've been there, they know what they're doing, they've seen it done right, they've seen it done wrong, and they feel comfortable. There's not a lot of chin-scratching and wondering what your next move is.
They offered me that film before I did Frida and I said, no, I'm not capable of directing. Then after seeing Julie direct, I was inspired by it. She motivated me to do it, because we don't have role models as woman for directors.
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